BUM ON A SEAT REVIEWS
Catherine Prout’s fresh adaptation of Charlotte Bronte’s novel focuses on action. All the major events of the story are here and are directed by Alexandra Whitworth at such a lick, the characters have little time for introspection.
In the title role is Charlotte Dodd, who introduces her tale quite affably, but from here on the fourth wall is very much in place. We see Jane as a much beleaguered orphan, physically abused by John Reed (George Ormerod). The violence (directed by Emily Tietz) is energised and, given our proximity to the performers, rather shocking to see up close. We also meet Mrs Reed, a cruel and callous ‘benefactress’, superbly played by Rosanne Priest.
In fact, Ormerod and Priest reappear several times, as do Melanie Revill and Julia Bentley, in a range of roles. Such is their versatility, you expect the cast list to be longer than six names. The character work is splendid, quickly establishing who they are without resorting to stereotypes. The only nit I would pick, were I a nitpicking nitwit, is the casting of Priest as a priest. She does it well but with all the other details so carefully of the period, we are well over a century away from the ordination of women! But don’t let that ruin your enjoyment.
And there is so much to enjoy. Dodd gives a star turn as Jane, who despite all the oppression and abuse, is never a victim. She is matched by the dashing David Shears as Mr Rochester (one of Literature’s greatest heart-throbs). The scenes of their burgeoning romance are beautifully played, among the gothic and melodramatic events.
The action plays out in front of a backdrop (by set designer Adam Clarke) of doors, windows and curtains which, along with the judicious use of select pieces of furniture, is enough to convey the story’s several locations. John Bale’s excellent costumes convey a sense of period and social standing. Kat Murray’s subtle lighting and sound designs augment the action, conjuring exterior scenes and raging conflagrations – A pleasing touch is to have Mrs Fairfax (Revill) and French ward Adele (Bentley) team up to change scenes under the pretext of teaching each other songs from their homelands.
It’s a story of a woman in a male-dominated society. Jane is ahead of her time; she has an independent spirit and the courage to speak her mind. Although (spoiler) she ends up married to the man she loves, it’s very much on her own terms.
Despite of couple of repetitious scenes, this is an engaging, high-quality show where the high production values are a hallmark of Tread The Boards Theatre Company.
Reader, I enjoyed it.
☆ ☆ ☆ ☆
