Based on Charlotte Brontë’s 1847 novel of the same name, Jane Eyre follows a young orphan who is put in the unfortunate care of her cruel Aunt Sarah and cousin, John Reed, as per her uncle’s dying wish. After spending six years at Lowood School for Girls, Jane is hired as a governess at Thornfield Hall. There, she meets Mr. Edward Rochester, thus beginning her passionate and heart-wrenching journey of love, loss, and the struggles of morality.
After having its world premiere at the Royal Alexandra Theatre in Toronto, Jane Eyre later opened on December 10th, 2000 at the Brooks Atkinson (now Lena Horne) Theatre on Broadway. It received 5 Tony Award nominations, including Best Musical. Unfortunately, the show not only failed to win any accolades (largely thanks to The Producers), but it also struggled to find an audience as the production closed on June 10th, 2001 after 209 performances. In recent years, the creators of the musical, book writer John Caird and composer/lyricist Paul Gordon, have reworked it as a chamber piece. It debuted in Japan last year. Theatre Raleigh’s production in particular marks its U.S. premiere. In fact, both Caird and Gordon were actually in attendance on opening night.
Prior to this, I had no familiarity with the story at all. I’ve never read the original novel nor have I seen any of its subsequent adaptations in different mediums. So as a newcomer, I was mesmerized from beginning to the end. From what I know of the original source material, it was one of the first novels told from a first person perspective. This musical utilizes a fascinating narrative device where each cast member takes turns providing narrations. They’re all supposed to be from Jane’s perspective, but whenever someone else is narrating, it allows the audience to focus on her reactions to what’s being described. I thought that format was used quite effectively. The opening sequence alone shows Jane looking back at her childhood upbringing. Watching that reminded me a lot of the title character in Charles Dickens’ classic story, Oliver Twist (which of course has its own musical). Mainly in how they’ve been orphaned as infants and get mistreated by the people who’ve been taking care of them. From there, we follow Jane on her journey to adulthood. The story itself may have a somber tone, but John Caird’s book does provide some natural comic relief.
This production is directed by Megan McGinnis. She’s a Broadway actress who worked with both Caird and Gordon before when she originated the role of Jerusha Abbott in their Off-Broadway musical, Daddy Long Legs. She even went on to direct Theatre Raleigh’s 2018 production of that same musical. On paper, you’d think a story like Jane Eyre needs more elaborate staging and scenery. Yet at its core, it’s a very intimate story. It doesn’t need all those bells and whistles. What McGinnis does with her staging is perfectly intimate, allowing the audience to focus first and foremost on the characters. Although this production is still visually appealing. Jeremy Diamond’s lighting is incredible, Elizabeth Newton’s sets are elegant, Mark D. Sorenson’s costumes are nice, and even Christal Schanes’ wigs (with some help from hair and makeup supervisor Evelyn Putnam) are done well.
Starring as the title character is Julie Benko. That’s right, one of Broadway’s biggest breakout stars in recent years is leading a local production here in the Triangle area. She got her big break as the standby for Fanny Brice in the most recent revival of Funny Girl and went on to originate the role of Ruth in Barry Manilow & Bruce Sussman’s short-lived musical, Harmony. Here, she is absolutely sublime as Jane Eyre. She’s almost never offstage, and carries the whole thing very well. Matt Bogart gives an emotionally strong performance as Edward Rochester. His relationship with Jane has quite an arc. I thought both he and Benko really nailed it.
This production has a cast of 11 people overall, most of whom are playing multiple roles. Highlights include Chanda Branch as Bertha Mason, a mad woman kept in the attic of Thornfield; Stacia Fernandez as Mrs. Reed, Jane’s maternal aunt, and Mrs. Fairfax, the housekeeper at Thornfield; Ella Frederickson as Helen Burns, Jane’s best friend at Lowood, and Bessie, the nursemaid at Gateshead Hall; Rob Hancock as Mr. Brocklehurst, the owner of Lowood, and a young clergyman named St. John Rivers; Elliot Lane as Jane’s Father and a well educated man named Richard Mason; Ada Maine, who’s especially quite sophisticated as both Young Jane and Adèle, a little french girl at Thornfield; Anne Scaramuzzo as Scatcherd, a teacher at Lowood, and Grace Poole, Bertha Mason’s nurse; Tedd Szeto as Jane’s cousin, John, and Robert, the butler at Thornfield; and Soraiah Williams as Jane’s Mother and Blanche Ingram, a young socialite whom Rochester plans to marry.
I found a lot to like about and relate to with Jane Eyre. Paul Gordon’s score is haunting, brought to life by an impressive seven-piece orchestra. Countless moments took my breath away. I also teared up a few times. This production especially does some of the best of what Theatre Raleigh has to offer. Presenting shows a number of people aren’t too familiar with in a small, but effective way. Do your best to see this in person if you can. Although if you’re unable to, a live capture will be taking place at the final performance on June 9th, which will then be released to the public at a later date.
Theatre Raleigh's production of Jane Eyre is currently running through June 9th. For more information, please click here.
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