Jane Eyre

based on the novel by Charlotte Brontë

seen at the National Theatre (Lyttleton) on 25 October 2015

The company under director Sally Cookson devised this theatrical adaptation originally in two parts for the Bristol Old Vic, but further work has reduced it to one part for the version at the National. it features Madeleine Worrall as Jane Eyre, with Felix Hayes as Rochester and Melanie Marshall as Bertha Mason. Craig Edwards, Laura Elphinstone, Simone Saunders and Maggie Tagney take all the other parts, supported by three musicians. The set is designed by Michael Vale.

Classic novels have been inventively adapted for the stage before, and there is a real challenge to transform long and often wordy narratives into coherent dramatic form. Here, the result is tremendously effective thanks to a stunning all-purpose set and a talented cast. Part climbing frame and part exploded house with no walls, just various levels of floor, and totally exposed on the Lyttleton stage with only some white drapes at back and sides, the set leaves almost all to the imagination, with a clever use of lighting effects and the occasional appearance of significant window frames. We were in the fearsome Red Room of Jane's infancy, then at Lowood School, then at Thornfield Hall, just as required, together with wonderfully realised coach-trips which helped to emphasise the enormity of the physical distances Jane is forced to travel. Indeed, the twists and turns, the ladders to be negotiated in long skirts, and the differing perspectives offered by the various levels of the set, all contributed to the energy and the emotional climate of the play.

Madeleine Worrall reveals a Jane fiercely aware of her own need for justice and integrity, totally belying the lazy and sentimental idea that she is just a passive victim of circumstance waiting for a strong man to take over her life. Her bitter outcry to her aunt at the unfairness of her treatment shows a steely character which is never subdued by the adversities she faces, though of course the cruelty of the marriage catastrophe is a bitter blow. 

Matching her with a bravura display of masculine assurance masking a deep sense of shame, Felix Hayes is a commanding Rochester (his voice alone just perfect for the part) who, despite the sheer obtuseness and potential abusiveness of his behaviour, is nonetheless allowed to gain our sympathy.

Wandering through the set in a vivid red dress, Melanie Marshall is a constant reminder of the buried secret that derails Jane's marriage, and is the visual clue for us as to what is so wrong at Thornfield. Often she sings, providing ingenious commentary on the proceedings even when Bertha is not directly involved; most notably and surprisingly the song 'Mad about the Boy' is used to great effect as Jane becomes more involved with Rochester - but we know also that he must have been attractive to Bertha herself at the beginning.

The remainder of the cast played many parts, with complete command of what they were doing. It was most intriguing to see Helen Burns (the inspirational schoolfriend), Adele (the troublesome young ward of Rochester) and St John Rivers (the creepy evangelical missionary who proposes to Jane in a welter of emotional blackmail) all played by the one actress, Laura Elphinstone. Craig Edwards, as well as playing the odious schoolmaster Mr Brocklehurst, gave a startlingly good performance as Rochester's hunting hound Pilot, providing a much needed physicality amidst the general decorum of early Victorian manners.