Arts: Theatre: Eyre the twain shall meet

JANE EYRE NEW AMBASSADORS LONDON

Dominic Cavendish
Thursday 02 December 1999 00:02 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

SHARED EXPERIENCE'S bold, peppy Bronte adaptation, back in London after two years, is built around an idea of utmost simplicity. It renders explicit the sub-textual relation in Jane Eyre between Bertha, Mr Rochester's attic-confined Creole wife, and Jane, his class-bound salvation.

Bertha becomes the embodiment of the repressed aspects of Jane's own personality, a raging "id" whose presence is felt throughout. It may seem like an obvious stroke, but it's an inspired one.

The habitual let-down with period dramatisations is that they resemble little more than edited highlights. Polly Teale's version, using eight actors,points you back to the original text while holding true to its own, psychologically telling theatrical style.

We first see Penny Layden's Jane and Harriette Ashcroft's Bertha larking in giddy, childish symbiosis around a bare-bones set consisting of stairs leading to a derelict room. Our heroine is in a drab, slate-grey dress; the other is in an exotic red frock, which bunches up as she scuttles and dances, mouth deliriously agape as she goads Jane on to let rip. Teale re-imagines the episode in which the orphan is banished to the red room by her affronted aunt as a moment of internal reckoning. It's not the sight of a ghost that makes Jane faint but the necessary dismissal of her more sensual, rebellious self.

Thereafter, Mrs Rochester howls, moans and jigs her pelvis in a grotesque display of sexual hunger, while below, the older Jane twitches in sympathy. Her hands flap around her face and body; her head jerks violently as she struggles to keep a lid on her feminist anger. Layden gives an extraordinary performance. You see why Sean Murray's raffish, Rochesterwould hanker after her prim purity and why she would become so mistrustful of him.

A production that so deftly captures the novel's confused heart should have no such trouble winning over sceptics.

Dominic Cavendish

To 24 Dec, (0171-836 6111)

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in