The book is always better than the movie. More often than not, the same is true for stage productions as well. It’s not easy for adaptations to capture the emotional impact of the source material. Books can give inner thoughts and emotions seamlessly, can note surroundings and simultaneous action. The stage? Well, that’s restricted to what fits in a given area.
These issues are tenfold for an oft-adapted source like Jane Eyre. Since the novel’s 1847 debut, it’s been made into films, plays, and even a questionable musical. After all, what’s not to love in a heartbreaking story of an orphan surviving an abusive childhood and working as a governess in the alluring Mr. Rochester’s mysterious house? Current versions need to diligently search to unearth anything new in such a classic story. In 2015, London’s National Theatre and Bristol Old Vic tackled the task, throwing almost every unique idea they could potentially conceive into a fresh take on Charlotte Brontë’s seminal novel. Austin Shakespeare has the pleasure of hosting the U.S. debut of this version, an odd and beautiful amalgamation of theatrical tricks in service to the titular Jane.
Austin Shakespeare’s borrowed production uses those myriad methods to get at the beating emotional core of Jane’s soul. Those familiar with the National Theatre, either through lucky British visits or through their “At Home” screening service, know its reputation for creative sets and unique storytelling. Under artistic director Ann Ciccolella, Austin Shakespeare has expertly crafted a similarly thrilling theatrical experience. Scenic designer Evonne Paik Griffin faithfully re-created the National Theatre’s staging, sparse ramps and platforms against a bare screen, delicately lit with the occasional projection from resident lighting director Patrick W. Anthony.
The play is essentially live-scored by actor/musicians playing guitar or bass or even violin accompaniments. It adds emotional heft to scenes, dishing up musical undercurrents of threat, sorrow, or joy as the mood sees fit.
The tallest platform structure hides an array of musical instruments, where many actors retreat if they aren’t needed for the main story. The play is essentially live-scored by those actor/musicians playing guitar or bass or even violin accompaniments. It adds emotional heft to scenes, dishing up musical undercurrents of threat, sorrow, or joy as the mood sees fit. There are a few sung portions as well. Many of these come courtesy of Chelsea Manasseri, who plays a tenderly sympathetic Bertha (and a cruel Aunt Reed) when not enhancing the atmosphere with her rich alto.
In addition to working as a literal merry band of players, the ensemble (with the exception of Taylor Flanagan’s Jane) works in multiple roles throughout the play. Tim Blackwood is Mr. Rochester, but also a cowering schoolgirl during early Lowood Institution scenes. Cassie Martin is Jane’s housemaid and first semi-ally Bessie, but also her beloved but doomed school friend Helen Burns. Memorably, A.Y. Oza works as the fire-and-brimstone, blustering Lowood headmaster Mr. Brocklehurst, then spends the latter half of the production with astounding athleticism on all fours as Rochester’s playful dog Pilot.
But much of Brontë’s text focuses on Jane’s interior life. It’s where many productions err. Since they can’t capture Jane’s fierce inner desires formed by her experiences, many default to the romance as focus. But this production places Jane’s independence and obstinate strength over any pious governessing. Part of that is the sheer pluck of Flanagan’s performance, which never veers into romantic cliches. Instead, any melodrama has a backbone of solid steel. But much of it is yet another ingenious use of the ensemble as a Greek chorus illuminating Jane’s innermost thoughts and struggles. Cast members often surround Jane to converse, to question, to torture. There are group chants and movements, an effective use of every single performer helping convey Jane’s feelings.
The result is imminently powerful. The clever staging and presentation keeps this story from veering into sanctimonious sermon, or maudlin, self-important romance. Jane is never boring. She’s a woman who admits to being desperate for affection, finding her own strength. Brontë’s Jane Eyre is a tale of discovering and maintaining inner worth. And Austin Shakespeare’s production illustrates Jane’s quest for a life of liberty and yes, some love, with grace.
Austin Shakespeare Presents Jane Eyre
Rollins Studio Theatre at the Long Center
Through November 24
This article appears in November 15 • 2024.
