Choreographer: Cathy Marston
Composer: Philip Feeney
Original Novel Writer: Charlotte Brontë
As the Crucible hosts the World Snooker Championship, Sheffield theatregoers find themselves with fewer options than usual across the cultural landscape. Thankfully, the Lyceum is offering a diverse programme, and this week they kick things off with Northern Ballet’s adaptation of Jane Eyre. It was back in 2016 when Cathy Marston created the ballet after the Charlotte Brontë novel, and this year’s tour kicks off (appropriately) in the North. What initially set this novel apart and continues to inspire readers today is the intimate portrayal of Jane. The first-person narrative style offers readers a compelling insight into her personal and psychological journey. Such rich emotional storytelling is fitting for a balletic adaptation, and Cathy Marston felt drawn to this world of complex characters.
Unusually, this adaptation begins with a plot point that comes later in the story, with Jane being discovered by St John. She is running through the woods, obstructed by male dancers who attempt to manipulate or deflect her. This group of dancers, referred to as the D-Men, are a recurrent motif, used to represent the many male characters who attempt to control Jane. She then begins her tale, starting with her being sent to live with her cold Aunt, Mrs Reed. She and her children spurn Jane, and after Jane fights off her older cousin, she is sent away to Lowood Institution. Jane encounters her first true friendship with Helen Burns, a fellow orphan. After Helen dies of consumption, Jane is heartbroken and continues her journey, eventually becoming a governess and leaving Lowood for Thornfield, the home of Mr Rochester. She and Rochester fall in love, and Jane seems to have finally found her home. However, there are secrets lurking in the walls of Thornfield, and a fiery truth must come out.
Amber Lewis dances the titular role, and Alessandra Bramante dances the younger Jane, allowing for moments where Jane watches her past unfold. This is one of the many ways that Marston has brought the novel’s introspection into a ballet adaptation. Bramante beautifully captures the young Jane’s inner frustrations and her need to burst free. Lewis is more measured but shows the strength Jane still contains. Harriet Marden had a fizzing energy as Mrs Fairfax. Her bright courus brought humour and a welcome change in tempo. Rachael Gillespie had a true charm as the young Adele. Marston’s choreography becomes a blend of ballet and contemporary dance at times, with movements that are angular and aggressive. This wonderfully suits the tone of the novel and indeed, Jane’s inner conflict. Miguel Teixeira dances the role of Mr Rochester, and the union of him and Lewis is perfectly poised. Their pas de deux contains more symmetry than is seen in more classical ballet, and moments where it is Jane who supports Rochester are tender and powerful.
The staging is simple with backdrops and flats that are brutal, grey, and striking. Set and costume designer Patrick Kinmonth has managed to create a world that is insular yet expansive as scenery flats move in, changing the depth of the stage, yet the oppressive grey stands like a piece of modern art.
It is a large leap to take a novel and adapt it into an art form without language, but Marston and the company have found the universal language of their characters and communicate effortlessly this classic story of love and inner strength. A beautiful telling of a wonderful story.
Runs until 26th April 2025
The Reviews Hub Score
Beautifully adapted
