NT LIve Jane Eyre

This was excellent , a thrilling version http://www.sydneyartsguide.com.au/nt-live-presents-jane-eyre/ The latest in the marvelous NT Live screenings, this epic, sprawling production, some three and a half hours long, is a co -production between the Bristol Old Vic and the National Theatre. The production originally was even longer and the Company spaced it over two nights. For its transfer to the National in London, director Sally Cookson has adapted and abridged it to fit into one evening. This is an extraordinary vivid, compelling and gripping production that is faithful to the great Bronte classic. For those unfamiliar with the book, the story is as follows- Impetuous , passionate orphan Jane Eyre ( here played by Madeleine Worrall), coldly rejected and stifled by her relatives, somehow survives her appalling childhood to find unexpected freedom when she arrives at Thornfield Hall to be meet with acceptance, family and an ally in the master of the house, Mr Rochester (here played by Felix Hayes).However appearances are deceptive , and Jane soon unearths sinister secrets within the walls of Thornfield… The production very quickly covers Jane’s very early life as a mewling infant, voiced by the adult Jane, as we see first her parents, then her kindly uncle, descend via a trapdoor into a tomb swirling with dry ice that will eventually also hold Jane’s friend, Helen Burns (Laura Elphinstone). The very young orphaned Jane is left to the uncaring management of her Aunt Reed (Maggie Tagney) and the hypocritical falsely pious yet quite menacing Mr Brocklehurst (Craig Edwards), principal of Lowood Institution. Michael Vale’s striking , almost abstract set of a ramp, ladders and a raised platform is deceptively simple and allows for very fluid and varied use by the cast who climb, cling, scurry and run about the set . In fact the cast themselves become walls at various points as well as, among other things, a stagecoach and a dingy classroom. Lowood is represented by a collection of suspended dresses. The lighting design by Aideen Malone is superb and features some glorious moments highlighting the stars , and the floating wedding veil. And not forgetting the fires. Katie Syke’s costumes declare the era the play is set in yet allow for fluid changes where necessary. The production featured a small band of musicians, including drum kit and harp. Contemporary songs were blended with a mixture of other genres including jazz, touches of electro, folk songs and even a bit of Noel Coward to make for a captivating score. Soloist Melanie Mason, wearing a red dress, ( it is eventually revealed that she is Bertha , Rochester’s mad wife , hidden in the attic ) appeared at important points with forceful yet delicate vocals. Dance and movement were also integrated into the plot and became a crucial element in providing added texture and substance to the production. The entire cast of ten were magnificent and they, apart from Madeline Worrall as Jane , who was onstage almost the entire time, inhabited numerous various roles regardless of race, age or gender. The use of the cast as multiple voices expressing Jane’s anguished internal monologues worked very effectively. Maggie Tagney excellently contrasted the warm, friendly housekeeper Mrs Fairfax with her portrayal of the cold, horrid aunt, Mrs Reed. Simone Saunders was delightful as Bessie, elegant Blanche Ingram and bespectacled Diana Rivers. Laura Elphinstone gave an almost saintly endurance to her portrayal of Helen Burns at Lowood, was exuberant and charming as Adele and impassioned and grandiloquent as St John Rivers. It was hard to believe that all three roles were played by the one person . As Jane, Madeline Worrall evocatively conveys her fury at her childhood experience of loss and injustice. She is small and feisty, a survivor, brave and solitary. Worrall shows Jane as an energetic problem solver, vivacious and at times volcanic. Tall, bearded Felix Hayes as Rochester was gruff and boorish , at times full of darkness and self loathing , bearer of many hidden secrets. He was touchy and petulant yet also sensitive and repentant. Special mention must be made of Craig Edwards scene stealing performance as the dog Pilot. This was a cyclical, strongly feminist version/reading of the book that attempts to follow Jane’s psychological journey focusing as much, if not more, on Jane’s early childhood as on the love story and what eventuates at Thornfield. We see Jane standing up to her ghastly kin, turning passionately against the cold bullying and meanness of the charity school regime, and standing up for the disadvantaged. As well the audience feels the major emotional journey Jane travels – from the neglect and misery of her early childhood , to the oppression and excessive strictness of Lowood School, through to her life changing time as governess at Thornfield Hall and then her flight to sanctuary with St John Rivers and his sister, before her eventual reunion with Rochester. There is a telling quotation that comes from one of Jane’s musings near the beginning of her time at Thornfield that goes a long way to describing this movie’s take on the classic novel:- “It is in vain to say human beings ought to be satisfied with tranquility: they must have action; and they will make it if they cannot find it.” Running time three and a half hours including one interval which includes a short behind the scenes documentary on the making of the movie. NT Live’s presentation of JANE EYRE will screen at Palace Cinemas from the 13th February.