Jane Eyre | Southwark Playhouse Elephant

Jane Eyre is the latest classic novel to find itself adapted into a musical, reminding audiences of the beauty of a timeless story. Written by Charlotte Bronte in 1847, Jane Eyre has become a defining addition to literature, with a book that was far ahead of its time in its feminist ideals and gothic romance. The musical adaption by John Caird and Paul Gordon honours the book, bringing Jane Eyre to life. Directed by Caird and Megan McGinnis, the production does a commendable job at condensing the novel into a two and a half hour musical, whilst maintaining the richness of Bronte's world, writing and characters. 

Jane Eyre, orphaned and at the hands of her cruel aunt and cousin, is sent to a boarding school for poor girls where she meets Helen, a loving friend who teaches her the value of forgiveness. Nearly a decade later, Jane Eyre wishes to leave her position as a teacher to become a governess at Thornfield Hall, teaching the young Adele. It is also the residence of Mr. Rochester, an arrogant and intellectual man, who is also capable of deep love. However, when a series of chilling incidents occur and a close brush with death unsettles the household, it's clear that Thornfield Hall holds more than its fair share of secrets. Jane and Rochester's relationship blossoms, yet is put to the test when ghosts from his past come crashing in, leading Jane to leave. Attending to her aunt on her deathbed, inheriting a lot of family wealth, and a proposal from a man that she doesn't love, causes Jane to realise how much she loves Rochester and the two reunite. 

Bronte's novel is a work of art, with its distinctive language, an element that has been meticulously recreated through the lyrics by Caird and Gordon (with dialogue lifted directly from the text). The musical, as one would expect, manages to cover most of the novel's intentions, yet does sacrifice some of the specific details in service of the central narrative. Jane Eyre has been placed first and centre in this piece, this also elevating her relationship with Mr. Rochester. 

Gordon and Caird have created a sweeping score that feels immensely huge and epic. With orchestrations by Larry Hochman and Brad Haak, and vocal and incidental music arrangements by Haak and Steve Tyler, the soundtrack soars with a timeless quality. Filled with ballads aplenty, the introspection of Jane Eyre is well versed, accompanied by gorgeous and lifting vocals from the cast. The use of multiple duets where in both Jane and Rochester never quite interweave is a fascinating choice, and does a wonderful job at adapting the novel. 

Morgan Large's set design is a truly immersive space, transporting audiences into the Gothic world with the twisted branches and vines that trail along the sides of the stage. The novel's most famous quote is carved into a vintage wooden frame above the stage, fracturing at both its start and end, allowing for the text to be fully realised through the musical. A large screen is used as the primary backwall, with ghostly vague illustrations used to help set each scene. James Whiteside's lightning is marvellous, bringing rather dramatic spotlights that help audiences connect to Jane's inner monologues. The cold blue lighting strips help create a more sinister feel, especially when paired with a vague mist that hangs in the air. Andrew Johnson ensures that the whispers of people far away is clear, with an air of mystique. Johnson ensures that the background noises are ever present, which helps ground the show further, especially as it can be focused on the internal monologue of Jane quite often. 

Georgina Lamb's choreography fills the stage well, allowing for the ensemble to become a larger part of the visual storytelling. They come together to create a rush of movement to propel one scene to another, showing the passage of time and highlighting how Jane is always an outsider. Despite Bronte's original novel being written in the first person, some of the direct quotes have been distributed to the cast, and their purposeful strides as they narrate is particularly charming. 

Claire Greenway does a great job at bringing the worn out and yet still caring Grace Poole to the stage with an acute intensity. Jonathan Andrew Hume makes an impact in his dual roles as Jane Eyre's ruthless headmaster, Brocklehurst and Rochester's ghost of the past, Mason, delivering a chilling and urgent voice to each role. Hannah Lindsey leaves the audience in unsettling awe as Bertha Mason, with a thorough understanding of the complicated character. Gemma Page becomes a steadying presence as Mrs Fairfax, with a mature and grounded performance that oozes authenticity and comfortability. Her warmth is felt throughout the theatre, making it all the more impressive when she becomes the insufferable Mrs Reed, Jane's cruel aunt. 

Eve Shanu-Wilson, a former Christine Dae and Glinda, delivers ethereal and angelic vocals that leave audiences with chills and wanting more. Izzi Levine makes her presence felt through strong vocals and an expressive performance. Melad Hamidi comes in blazing in the second act as the missionary St John, with an irresistible charm and truly gorgeous vocals. Connor Wood makes yet another strong impact with his gentle presence as the Thornfield Butler, and his ability to turn cruel as Jane's cousin John.

Isabelle Methven continues to prove herself to be a young performer to watch out for; delivering a quietly powerful performance that left ripples throughout the show. Portraying Helen Burns, Jane's childhood friend, Methven's performance is exceptional as she truly changes the course of the show. Methven's performance is star quality, with vocals that feels spiritual and a performance that is unshakeable. 

The role of young Jane and Adele is shared between two young actresses, at this performance it was Emily-Rose Samuel. Samuel makes her professional debut in this role and immediately is the stand out performer. As young Jane, Samuel has the plucky and rebellious spirit that lies at the heart of the novel, with a characterisation not unlike Roald Dahl's Matilda. Samuel is careful to never make Jane seem bratty or even at fault, with a performance that seems to be built upon years of mistreatment and injustice. Samuel's chemistry with Methven, especially as Helen slowly fades away, is breathtaking, leaving audiences mourning both characters simultaneously. If Samuel is triumphant as the young Jane, she is even more winning as Adele. Although the role is less detailed, Samuel's flawless execution of the cheeky and adorable French pre-teen steals the audiences heart with a simple moment of mischief. Samuel's vocals are astoundingly clear and emotional, and she truly is just a star in the role.

Ashley Gilmour does a splendid job as Mr. Rochester, delivering a nuanced performance that brings out the contradictions in the character. Gilmour delivers a Mr. Darcy like stature, as he becomes the iconic distant male romantic lead in the classic, whose true love for Jane is endearing as it is heartwarming. Gilmour also brings out his darkness, his shame and his guilt well, as he is plagued by his past that he can not shake, and lets his arrogance form a veil over his everyday life. It's a tricky balance but Gilmour handles it with ease, providing a brilliant portrayal that will stay with audiences long after the show. His vocals are moving, as he sings with intent, wrenching every last ounce of emotion from the poetic lyrics.

Charlie Burn as Jane Eyre is inspired casting. Burn is sensational, irresistible and shines brightly in the role, with a mature performance that feels scripted by Bronte herself. There is something quite magical in her physicality, with the weathered but optimistic nature of her soul providing an untamed spirit, the constant wonder and care in her eyes, the gentle restraint in her voice, even the moments of stillness that provides audiences with yet another layer of the character. Burn's chemistry with Gilmour sparkles, making them a very sweet pairing. Burn's vocals are divine, managing to make every song memorable and touching, as she truly experiences the deepest of every imaginable emotion.

Jane Eyre is not a musical to be missed, with a world of wonder hidden within thanks to the entire excellent company. A lovely reminder not to judge a piece of art by its cover or its name, but to let oneself be swept away in the grandeur of a good story; Jane Eyre does it all. A remarkable musical that hopefully will take flight into a brighter future, but for now don't forget to book whilst it plays at the Southwark Playhouse Elephant until 24th October - tickets and more information can be found here. 

★★★★★ (5*)

Gifted tickets in return for an honest review | Photography by Victoria Davies