A charming musical full of heart and hope, Jane Eyre is all light but misses shades of grey
Enjoying its British premiere run at the Southwark Playhouse Elephant, this musical production of Jane Eyre co-directed by John Caird and Megan McGinnis is largely faithful to its literary source. Filled with soaring ballads of hope and self-reflection, this Jane Eyre is as earnest as its heroine but is light on depth.
Adapted from the novel it shares its name, Jane Eyre tells the story of a Victorian orphan girl cruelly treated by first her aunt and then her strict, miserly boarding school, before going on to become a governess at the home of the mysterious Mr Rochester- whom she falls in love with.
Act 1 condenses and whizzes through Jane’s tragic origin story to reach the meaty story of adult Jane. The music (Paul Gordon) and book (John Caird) writers seemingly aware of the sheer volume of plot to get through- it is a thick book- give Jane (Charlie Burn) and the ensemble ballad after harmony after ballad to sing for exposition and character thought. The effect results in most of the songs of Act 1 blending together into one blur of yearning and optimism.
It is in act 2 the musical give itself a moment enjoy its scenes and the characters permitted more direct conversation. When a ‘gypsy’ comes to visit it injects some much-needed comedy as the Ingram sisters are offended by their unfortunate readings.
The shows Jane (Charlie Burn) and Mr Rochester (Ashley Gilmour) give it their all and the pair sparkle as they duet, “Secret Soul” being their standout song. Neither can be described as plain despite all around them claim- the audience’s chuckles confirming this. Gilmour’s Rochester is rakish and playful, making it easy for Burn’s elegantly innocent Jane to fall. Although her character comes to resemble a watered-down Belle of Beauty and the Beast– no fault of Burn’s as all she is given to do is sing pining ballads. When flashes of Jane’s anger and insecurity break through in “Painting Her Portrait” she is electric in her range and colour. It’s a Jane I wish we got to see more of.
The ensemble are swift as they multi-role seamlessly across the story, wielding the minimal props and furniture across the stage swiftly. The choreography of Georgina Lamb made them melt like shadows as scenes transitioned and were haunting as extensions of Jane’s body as she trekked penniless across the harsh moors.
Strong ensemble performances included Gemma Page as Mrs Reed- Jane’s cruel aunt- and Mrs Fairfax- Mr Rochester’s housekeeper- as she contrasts the sharp and cold demeanour of the former to the warm and comforting latter. Isabelle Methven also as Jane’s ill-fated school friend, imbuing her with quiet dignity and strength during her brief stage time. Emily-Rose Samuel as Young Jane/Adele that night also excelled at radiating youthful Jane’s fiery sense of injustice before being cheeky and charming as her French ward Adele.
Morgan Large’s staging design was simple. A video projected backdrop illustrating the story’s various setting- Thornfield Hall, woods, Yorkshire moors- with illustrations which looked straight out of a book of the period, this suitably framed with black, gnarled branches.
A stylish and charming show full of music, Jane Eyre would be better served by trimming its blur of Act 1 songs to allow more direct conversation between its characters. Jane sings of hunger for knowledge and independence in “Sweet Liberty” only for this interest to rarely emerge again And Burn and Gilmour barely let the sexual tension simmer before off singing their attractions.
Overall, while Jane Eyre has its rough edges, like its heroine it is full of heart and passion. Running until 24th October, musical theatre and Jane Eyre fans will want to catch it to see the life its cast and creative team have breathed into it for the stage.
Jane Eyre runs at Southwark Playhouse Elephant until 24th October.