The stage is set with a wooden framework and ladders, musical
instruments nestled at the centre of this construction. There are no grand
sets, everything is very minimal, and yet the audience is drawn in, very much
present with the characters, in Thornfield, at Lowood. The lack of heavy,
claustrophobic period sets indicates that this is going to be very much about
the people, about the heart of the story and the issues it touches on that make
it endure through the ages.
Originally staged as a double play at the Bristol Old Vic, it has
been condensed into one show for the National. A reasonably long play
admittedly, but so enthralling it doesn’t feel it. There are no younger actors
to depict Jane in her youth, we are instead greeted with Madeleine Worrall
moving around the stage, emitting eerily accurate baby cries. Time is taken on
her younger years, allowing the audience to understand the influences on
her psychology. The oppressive red room, the terror she feels when locked
inside, the intimidation and humiliation at Lowood are all there, as well as
the loss of loved ones as they descend below the stage, this physical act a
powerful representation of death.
Felix Hayes as Rochester is commanding and has great presence. His
chemistry with Worrall is spot on and the energy in some of the more
impassioned scenes is quite something. The ensemble is central to the success
of this play – the small cast taking on multiple roles regardless of gender or
species. They provide a voice for Jane’s conscience and skillfully give a sense
of the different environments.
The lighting and use of music throughout are important for setting
the mood as well as adding emotional depth. Melanie Marshall’s presence
throughout is an interesting move, her Bertha all the more intimidating for her
calm presence. The use of Gnarls Barkley’s Crazy
as her final song has the potential to feel quite out of place but her
version is strong, it works brilliantly.
An altogether wonderful production of a much-loved novel. It may
look different to how you’d imagine but it captures the very essence of the
novel. Tickets are limited, but if you have opportunity you’d be fool to pass
it up. I’d happily experience it again. Playing in the Lyttelton Theatre until
10th January, 2016.
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