Jane Eyre

It is no exaggeration to say that this production of Jane Eyre made a big impact on me. As it is my last review I have taken longer than normal to write it.

Polly Teale, the playwright, is adept at teasing every ounce of sub-text contained in Charlotte Bronte’s novel.  Instrumental in creating Shared Experience Theatre Company in 1975 Teale aims to communicate powerful physical acting to the audience creating a link resulting in a “shared experience”: audience and production. Jane Eyre is a long novel. It was written at a time when female authors could not openly express its themes. Even writing under the pseudonym, Currer Bell, the novel  still attracted the opprobrium of contemporary critics while selling thousands of copies far exceeding its publisher’s expectations. At the heart of Shared Experience’s work is a quest to bring fresh imaginative interpretations to books expressing the lives of women. Thus there is at the centre of its output a desire to challenge the audience while tasking them experience thoughts and ideas emanating from the psyche.  Anyone expecting  to see a cosy adaptation of Jane Eyre may be disappointed if this idea is not successfully displayed. Clive Stack’s production brilliantly captured the aims of both authors; Charlotte Bronte and Polly Teale.  

Jane Eyre was unashamedly written to heighten awareness of the subservient place women occupied in early Victorian society. It can be argued that plays of such integrity coupled with unflinchingly strong direction can have the effect of raising the standard of the acting. For the cast  too has a shared experience knowing  reactively that they are contributing to something exceptional. 

The role of Jane is demanding. Rarely off stage, to be convincing it requires stamina, concentration and a clear understanding of what drives the character to behave and react in the many different aspects of her life. Determination is a by-word for Jane’s character. She possesses an unshaking moral outlook not always shared by others she comes into contact with. She is a dreamer too, thinking of how her life could be lived given different circumstances or opportunities. I had not had the pleasure of seeing Holly Boland on stage before. I understand she is now a fully paid up member of Blackburn Drama Club.(Rejoice!)  In Holly’s interpretation we witnessed an actor of great skill totally succeeding in connecting with the audience. In fact I could rephrase that by saying “her audience“.  Holly drew us into the inner workings of Jane’s mind, constantly asking us to readdress  our reactions to her tribulations. Moving effortlessly about the stage while displaying a range of widely diverse emotions Holly’s performance was one of beauty deserving of my highest respect and praise. 

Equally impressive, Heather Roberts was cast in the demanding role of the” mad woman” in the attic, Bertha Mason. Heather physically reflected the moods and emotions expressed by Jane. Her success in mirroring the hidden intentions that even Jane herself might not have recognised was remarkable. Never still, Heather forced us never to let our minds escape from considering the challenges facing Jane. 

Rochester is not an easy character to warm to. Charlotte Bronte paints him as austere and remote. Stephen Claxon is another outstanding actor. In his hands Rochester’s inner turmoil at his guilt and confusion over his first wife was brought to the fore. That Rochester has desperately tried to erase Bertha from his mind leading him to mistakenly believe he could no longer be judged to be married to her was tragic in its depiction. Meanwhile as the parson began to join Jane and Rochester in holy matrimony on stage left we saw Bertha writhing with outraged indignation in captivity. We might conclude in this version that the intervention of Richard Mason was achieved through the power of Bertha’s will or even by Jane’s lingering doubts about the suitability of her partnership.  Stephen had gravitas. We saw a character wound up by the effects of first marriage. The changes in his demeanour as demanded was well played. Shirley Watson created a fine Mrs. Fairfax. It was good to see a return to the BDS company of Wayne Avanson and Catherine Strickland. Playing three different characters Wayne reminded us what a versatile actor he is wil Catherine lit up the stage in the contrasting  roles of Blanche Ingram and Mary Rivers. The supporting roles are crucial to creating the feeling that life is going on as it should and that Jane and Rochester’s burgeoning relationship is somehow divorced in reality from their actions of those with whom they interact. Ben Ashworth giving a most accomplished range of parts was well cast and showed assured confidence. Suzanne Nolan was outstanding as Grace Poole. The remaining members of the cast, Barbara Chadwick, Lula Chinery and Dominic Dwyer all contributed greatly to the overall strength and integrity of the play.The stage was, as usual, professionally managed by Graham Howarth who also treated us to a number of convincing cameos. The dancers under the direction of Miss Zoe Taylor served to underline the main moments in the play, particularly the fire. Their presence added to our appreciation of the incidents happening around them. 

Plays of this period must be played in authentic dress to succeed. Jacqui Mooney  and Jane Stack are to be congratulated for dressing this production so brilliantly. This is not an easy play to stage. There is much to consider in planning its method of convincing the audience.

In the hands of Clive Stack the audience was privileged to witness a production of outstanding purity.

P.R.M.

 

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