All the gloom of a Brontë character?

Indy Theatre Habit reviews the Footlite production of Jane Eyre. The Musical in Indianapolis. It's a long review and we have just extracted a few paragraphs:
Picture Source

Stephen R. Hollenbeck’s individual costumes (...) are stunning. The rich fabrics! The exquisite attention to detail! They are even more gorgeous when their wearers twirl gracefully around the stage in choreography by Elena Marr.
The show is not without flaws. Sometimes the microphones “pop” and crackle distractingly. Sometimes the orchestra, which sounds lovely on its own, overpowers the actors, especially when they are speaking rather than singing. The beds and other set pieces that roll on and off stage are distractingly noisy. I didn’t quite understand why smoke billows up the stairs at a certain point. Is it supposed to represent the hellfire of Rochester’s guilt and torment or is the house itself already on fire? Some of the songs sound too much alike. I think this is what makes the show feel a little too long. I am not talking about the songs that are actually repeated. The repetition of “Forgiveness” near the end, for example, is quite powerful.
In any case, for me, the numerous museum-quality costumes, Brenna Campbell’s beautiful musical storytelling, the romantic story itself, and many, many other elements make this show a satisfying one, well worth my time and money. (Hope Baugh)

Cinema Blend reviews the TV series Canterbury's Law and is able to discern some Brontë echoes:

I like the “look” of the show. It looks HBO-ish. It’s dark, both in feel and color. Things aren’t perfect. People aren’t perfect. And the main character is definitely not perfect. She knocks back vodka like an old Russian, sleeps around like a Tudor king, and views the world with all the gloom of a Bronte character. (Jane Louis Boursaw)

If you say so... nevertheless it's always better to see Brontë characters everywhere than to classify Justine Picardie's Daphne as chick-lit. We wonder if someone at the The Daily Record has read the novel at all:

Author Daphne du Maurier is still haunted by Rebecca - her most famous heroine. To keep busy she embarks on a biography of Branwell Bronte and meets slippery Alex Symington. Over 50 years later the truth behind the whole literary mystery is uncovered by a lonely young woman.

By the way, this week we are giving away a copy of Daphne. Just click here to know more.

The Vancouver Sun revitalizes the world of the Brontë influences in popular music and instead of talking of PJ Harvey's White Chalk finds Wuthering Heights traces in the new work of Sarah Slean: The Baroness:

There's a Victorian feel to the lyrics and a theatrical feel to the building and crashing music. Slean would benefit, perhaps, from some more modernity. Take, for example, the lyrics to Please Be Good to Me, where Slean sings: "I carried my heart unbuttoned across the lonely stage where all the fools and actors circle like birds of prey." I can't help but picture the heartache and drama of a story like Wuthering Heights when I listen to this album. Images of torn gowns, unkempt curls and bleak winter gardens come to mind. Such influences could make for gorgeous music, but Slean overdoes it. The songs all blend together. They all sound similar - a bit like they were written for some romantic, teen television drama. Slean is surely capable of more. (Amy O'Brian)

VDBD-Viadellebelledone reproduces an interesting article (originally published in Il Pendolo in 2006) by the poetess Flavia Buldrini about Emily Brontë's poetry in Italian. Happy Talk expresses her love for Jane Eyre.

Categories: Books, Emily Brontë, Jane Eyre, Music, Poetry, References, Theatre, Wuthering Heights