The Northern Ballet's latest production is Jane Eyre, directed and choreographed by Cathy Marston. Celebrating Charlotte Brontë's 200th birthday, Jane Eyre brings together a ground-breaking female author, choreographer, composer and, of course, the central character of Jane.
Marston has distilled Brontë's epic Gothic novel into a 90 minute ballet by concentrating on Jane's story and her relationships with the different men she encounters. The narrative is cyclical in nature; as Jane watches over her younger self before the two Janes switch over with beautiful mirrored movements. Scenes merge and change fluidly, reminiscent of the way memory can be hazy and elusive.
Marston uses the men of the company to represent Jane's inner demons, constantly obstructing and blocking her path. This device gives the Northern Ballet's males a role in an otherwise female-dominated production, and clearly conveys the frustration and anger Jane feels when she is constantly let down and mistreated by men. However, these demons interfere with the action at times (particularly a powerful, synchronised scene in the orphanage) and I am particularly pleased when Jane finally banishes her inner demons at the end.
Patrick Kinmonth's beautiful stage design reflects both the wild moorland and dark interior spaces occupied by
Jane Eyre. Cloths are printed with abstract designs which hint vaguely at trees and hills, fireplaces and hidden doors. Light and flexible, the cloths are drawn across the stage by various characters, keeping the pace quick and again reflecting the fluid, dreamy nature of the story.
Marston's choreography is the driving force of this production. Her abstract, often contorted movements express Jane's emotions more clearly than dialogue possibly could. Antoinette Brooks-Daw is stunning as the young Jane. Every fibre in her body brims with tension, as though boiling over with Jane's anger and resentment. Marston's choreography for young Jane is packed with wild movements, clenched fists and rigid isolations, showing a girl at war with herself and her cruel world.
The choreography for the elder Jane is much more smooth and lyrical. Upon arrival at Thornfield, she bourrées backwards onto the stage with caution and uncertainty. We do see flashes of the child, in the way Jane deliberately clasps her hands together and restrains her legs from wildly kicking out. Hannah Bateman gives a polished performance as Jane; her height and strength making her a match for Javier Torres' Rochester. However, she relies on the choreography to convey the narrative and emotion, and could explore additional layers of characterisation.
Marston's innovative choreography creates exciting cameo roles in which the entire company shine. Rachael Gillespie is an absolute delight as Adele, with ecstatic leaps, bouncing legs and a mischievous smile. The audience favourite is principal Pippa Moore as Mrs Fairfax, who relishes Marston's frantic relevés with angular knees and hips, just like an arthritic old lady.
Javier Torres is powerful and expressive as the brooding Mr Rochester, exemplified by a characteristic gesture of a hand resting thoughtfully on his temple. After the fire at Thornfield, Torres gives an emotionally charged performance as the newly blind Rochester with a horrified expression, now unable to perform his signature gesture.
Although Charlotte Brontë's novels were originally published under the pseudonym Currer Bell, she was one of the first influential female authors and, in rejecting the traditional female role, also an early feminist. Jane is often regarded as a feminist, as she makes her own career, rejects a cold proposal and refuses to conform. However, certain elements of Marston's choreography do not present Jane in this light. One moment in particular, when Jane goes to leave the room but is prevented by Rochester's out-stretched foot, smacks of a chilling, dominating male presence rather than a passionate love affair. In the very same scene that she accepts Rochester's proposal, Jane is forcibly restrained around the neck and head.
When Jane returns to Thornfield, the power balance has shifted. She has banished her demons and now chooses to return to Rochester, but now she is in control. An intriguing pas-de-deux shows Jane catching Rochester, supporting his weight and cradling his head; Marston uses weight, posture and balance to show the mutual respect and equal balance in this new relationship.
In a stoke of brilliance, the striking final image shows Jane, in a spotlight, striding away from Rochester towards the audience - finally free, unobstructed by any man, with palpable confidence and purpose.
Jane Eyre is an intriguing production, showing off the Northern Ballet's dancers at their expressive, innovative best. This is quite possibly the best example of narrative ballet in the UK for quite some time. Touring until 18th June, tickets are available
here.
Photo: Emma Kauldhar
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