Review: JANE EYRE - A MUSICAL, Southwark Playhouse
Photo credit: Victoria Davies
Written almost 200 years ago, Jane Eyre is one of the best known and loved romance novels in the English language. Therefore, there is a lot to live up to for the musical also titled after its eponymous heroine, which originated on Broadway in 2000 and received five Tony Award nominations. Now making its long-awaited UK premiere at Southwark Playhouse, Jane Eyre has strong foundations but won’t be capturing the hearts of British audiences quite yet.
Co-directed by John Caird and Megan McGinnis, with music by Paul Gordon, the trio have a challenge on their hands to condense a 38-chapter classic novel into a two-hour musical. We cannot fault them for taking a few literacy liberties to streamline the plot as they certainly embody the story and essence of this classic tale of forbidden love. This is aided by the simple set, largely consisting of benches, and gothic-style monochromatic costumes by Morgan Large. However, the pacing could certainly be tightened. Young Jane, played by fabulous young performer Emily-Rose Samuel, is relied upon to establish much of Jane’s character while Charlie Burn (Older Jane) is left to observe and occasionally harmonise with her younger self. At least a third of the first half is dedicated to Jane’s early years at Lowood School, whereas Jane and Rochester’s wedding and the revelation about Rochester’s first wife does not come until well into the second half, leading to a slightly rushed conclusion. The interval is placed after a third ballad about Jane and Rochester’s yearning for one another, which is superbly sung but anti-climactic as the two’s feelings have already been well established.
The songs consist of soaring ballads with some lovely orchestrations played by the band, led by Ben Kubiak, which conjure images of the rugged landscape of the North Yorkshire Moors that surround Thornfield Hall. Gordon’s lyrics are inspired by the novel’s themes of longing for love and independence, and the presence of the Christian faith and its role in providing moral conundrums for the characters. However, as the show progresses the songs begin to lose their individuality and their lyrics lack anything especially revelatory. There are a few standouts: ‘Sweet Liberty’; Jane’s “I want” song, beautifully sung by Charlie Burn with clear and bright vocals which portray Jane’s hope for something greater, and ‘Brave Enough to Love’; a rousing conclusion to the show.
The cast is wonderfully led by Charlie Burn and Ashley Gilmour as Jane and Rochester. There are certainly a few chuckles when the pair are described as plain when they could be better compared to a Disney Prince and Princess with intense and emotive vocals to match. Gilmour is a suitably broody and enigmatic Rochester and has great chemistry with Burn’s charismatic portrayal of the feminist literary icon. They are supported by an excellent multi-rolling ensemble, however the casting choice for Bertha is perplexing. The ensemble narrates much of Jane’s story, although we do find it a little odd that they do so in first person. There are brief moments of choreography which could have been utilised further to bring additional drama to the piece but there is no shortage of emotion in the ensemble’s harmonious vocals.
Jane Eyre is a classic story that has captured generations. Fans of the novel are sure to enjoy this musical production but those looking for a more modern retelling may leave yearning for more.
*** Three stars
Reviewed by: Sophie Luck
Jane Eyre - A Musical plays at Southwark Playhouse Elephant until 24 Oct, with further info here.
