We sat down for an exclusive interview with Eleanor Zeal, writer of Jane Eyre Convention. Eleanor Zeal is a London-based dramatherapist currently working in schools, supporting young people through creative and therapeutic practice.
Jane Eyre Convention runs from 9th-13th June at the Bread and Roses Theatre – Tickets here
This piece brings together Jane Eyre and a modern-day fan convention. What first sparked that idea for you?
Several years ago I became aware of several new film adaptations of Jane Eyre and even though I’d read it at school I wondered why it was so enduringly popular. Going back and re-reading made it clear that the rags to riches narrative was very compelling as is the complex central character of Jane Eyre, a plain and humble heroine. I discovered that Jane Eyre is the second most produced and adapted novel, after Frankenstein by Mary Shelley. It was then a natural leap to imagine obsessive fans/readers wanting to have their own convention where they could actually be the character they loved and follow her difficult path to happiness.
What drew you to exploring the world of literary fandom as a theatrical setting?
Literary fandom seemed like a good idea because you have the vehicle of the story in which to place any number of interesting and conflicting characters who are united by their passion. The story itself is highly dramatic and therefore a good starting point for a theatrical piece. I think people with an obsession who take something incredibly seriously are great material for comedy.
Jane Eyre continues to inspire such passionate audiences. What do you think keeps people returning to it?
I think people just love the idea of an underdog being successful. Ordinary people can relate to Jane’s humble beginnings and be inspired by her extraordinary character and determination in the face of adversity. It’s also a story about women and class so we can appreciate the inequalities of her time and how she navigates that.
Inviting audiences to bring “bonnets and emotions” creates a very particular atmosphere. What kind of experience are you hoping people step into?
The wearing of bonnets is of course entirely optional and there are also imaginary bonnets beneath each seat. It’s a way of bringing the re-enactment convention to life and allowing the audience to feel part of the story and the convention. They are addressed as if they are fellow attendees and invited at various points to join in with the various strong emotions being expressed. The majority of the team are also drama therapists so they are used to facilitating emotional release. This is not therapeutic theatre per se but it may have a mildly therapeutic effect.
Beneath the comedy, the show explores the dilemmas and emotions within Jane Eyre. What conversations are you hoping to open up through that?
The piece is of it’s time but the plot device of a first wife and black woman locked in the attic feels like it should be explored so we attempt to rehabilitate Bertha and give her a voice. We also explore Charlotte Bronte’s early feminism as expressed through Jane. We know that originally the novel was published under a male pseudonym as women were not considered capable. The play then looks at how male voices are still louder and more powerful via the characters at the convention and the arguments/conversations they have. One character has a boyfriend who we learn is fairly abusive and controlling which echos some of the characters in the novel.
Looking ahead, what kinds of stories or theatrical ideas are you feeling drawn to explore next?
Looking ahead, I would quite like to explore further some of the back stories of the convention’s protagonists and how they managed to meet up, perhaps a prequel.The reenactment convention is a very rich seam so there might be other novels and other obsessives to explore.
There might also be a play that addresses the assisted dying debate with psychopomps and Gods and dogs of war and death populating it. Just at the idea stage currently.