reviewed at the Theatre Royal, Norwich on 17 July
You can’t keep a good story down, especially when it’s Charlotte Brontë’s Jane Eyre. This version, now on a national tour, is a co-production between the Bristol Old Vic and the National Theatre, devised by the company but with a firm directorial hand provided by Sally Cookson.
Jane’s progress from a stroppy child, taken in unwillingly by her dead mother’s family and eagerly dumped into the unhealthy surroundings of Lowood School, to an independent woman who makes her own life through being true to her individual values is in any case a gripping story. It’s taken at a considerable pace.
Designers Michael Vale (set), Katie Sykes (costumes) and Aideen Malone (lighting) present us with a platformed set and a number of ladders. Ten actors play all the parts, as well as acting as a sort of Greek chorus, articulating Jane’s thoughts an fears. Nadia Clifford is a feisty Jane, crinkle-haired with eyes which glare as readily as they glance.
Melanie Marshall, clad in blood-red and with a fantastic vocal range plays Bertha Mason and provides a musical commentary spanning everything from Negro melody to Coward. The incidental music – there’s a lot of it and it sometimes drowns the dialogue – is by Benji Bower.
It’s always difficult to warm to any of the men who litter Jane’s path to self-knowledge. Paul Mundell has a well-contrasted double as authoritarian schoolmaster Brocklehurst and tail-wagging dog Pilot. Tim Delap’s Rochester is more of a typical North Country squire of the early 19th century than a much-travelled cosmopolitan.
Evelyn Miller, in a bit of gender-blind casting, is fervent missionary St John Rivers. She also plays Bessie, the one servant who takes Jane’s side in the Reed household. Hannah Bristow is consumptive Helen Burns and Rochester’s pert French ward Adèle while Lynda Rooke contrasts aunt Mrs Reed and housekeeper Mrs Fairfax.
Four and a half-star rating.
Jane Eyre runs at the Theatre Royal, Norwich until 22 July with matinées on 19 and 22 July.