Two reviews and hotel stay

The Courier reviews the production of Jane Eyre the Musical seen at Schmeckfest.

Let’s reach into our bag of words and see what we can find.

Engaging. Sure, but we can do better.

Enthralling. Yes, absolutely. But still not quite right.

Mesmerizing. Definitely. But what about …

Spellbinding. That’s it!

Spellbinding, as in — according to Merriam-Webster — “holding the attention as if by a spell.”

But it wasn’t the spirits of Thornfield Hall that held the audience in its binding grip, but rather the talent and delivery of the entire cast, crew and production team of “Jane Eyre,” the musical drama presented in conjunction with the 64th annual Schmeckfest last week.

The musical adaptation by Paul Gordon and John Cairo of the 1847 novel by English author Charlotte Brontë —  “Jane Eyre: An Autobiography” — took the Schmeckfest stage Thursday, Friday and Saturday, April 3, 4 and 5 under the leadership of first-time director Jill Hofer, and boy did it deliver.

Was it the most dazzling of Schmeckfest musicals? Not even close.

Was it the most delightful of Schmeckfest musicals? Another hard no.

Was it the most enjoyable of Schmeckfest musicals? Define enjoyable.

But what unfolded beneath that familiar proscenium arch in Freeman Academy’s 75-year-old Pioneer Hall is one of the most talent-filled display of musical excellence we have seen since “The Red Mill” kicked off the annual tradition of Schmeckfest stage productions in 1967.

Folks were visibly moved in the moments following the opening-night production on Thursday, and on both Friday and Saturday, through the scent of the foods that have made Freeman’s big little festival famous and the sweet camaraderie that keeps people coming back for more, I heard several say it may have been one of the best Schmeckfest musicals they have ever seen.

That’s a stunning and somewhat unexpected claim given the uphill battle “Jane Eyre” was facing since the moment it was announced as the 2025 Schmeckfest musical last July. It was and is, after all, a relatively unknown musical with a story that is thick with nuance, complexity and heavy undertones — a far cry from the heartwarming and inspiring rhythms of the likes of “Oh What a Beautiful mornin” and “Seventy-Six Trombones” that fill peoples cups with idealistic (and oft unrealistic) imagery and optimism.

“Jane Eyre” is a different kind of show entirely, and hats off to Jill Hofer, not only for taking it on, but also for having whole-hearted faith that it would fit perfectly into Schmeckfest’s musical cannon and be something that people would be talking about — for all the right reasons.

As I took in the Thursday night performance halfway back in a three-fourths filled house, not only did I observe the outstanding sounds and sights of the performance, but also how the audience was reacting as the story unfolded — as Jane found her way from childhood abuse in the Gateshead Hall and Lowood School to newfound optimism in Thornfield Hall to, finally, redemption through faith and love. And, as I looked around, I was surprised by what I noticed.

The house was still. Quiet. Locked in. There was no applause following the beautiful “In the Light of a Virgin Morning” sung by Clara Beseman and Kelsey Pidde, playing the parts of Jane and another would-be love interest in Thornfield Hall, Blanche Ingram. Why? Because, so engaged was the audience that it had the collective sense to stay in the mood without the clatter of clapping breaking it. I’ve always said that, in theater, silence can be loudest of all.

There was an audible gasp midway through Act 2, when Edward Fairfax Rochester, the owner and master of Thornfield Hall played by Elliott Graber, admits at his wedding ceremony with Jane that he is already married.

And it didn’t take but a few seconds after the curtain call began that the audience was standing in overt and enthusiastic approval of what they had just witnessed, the 10:10 p.m. hour be damned.

I looked over at Stacey.

“Phenomenal,” she told me, brushing aside any skepticism she may have had given the show’s heavy mood and unfamiliar score. “Maybe the best I’ve seen.”

I have thought long and hard about how the audience reacted that Thursday night, and in the nights that followed, and I believe the positive response was for two reasons.

1. For most, because this was an unfamiliar show with a layered storyline, they were forced to pay attention or get lost along the way.

2. Paying attention was easy because it was just so well done.

And, in those two things, a powerful connection — a spiritual journey — was formed in a gymnasium-turned-theater, the unlikeliest of spaces, a surprise to behold. (Jeremy Waltner)

Newark Advertiser reviews Northern Ballet's Jane Eyre.

While the first act felt slower in pace, the performers’ technical skill was immediately evident as dancers — choreographed by Cathy Marston — slid across the stage with grace and precision, creating a mesmerising atmosphere.

The silence as dancers transitioned from movement to movement and floated around the stage so effortlessly was absolutely impressive, such controlled emotion that it is hard to understand how it is possible. [...]

The second act brought a noticeable shift, whoever considered the first act slower was definitely awake for the second part as not only did the dancers bring more drama and power but the orchestra brought a darker and louder sound to the stage.

This act definitely delivered a vibrant and engaging experience as the choreography became bolder, and the narrative momentum finally took hold and offered the audience a mixture of love, wedding, jealousy and a sense of broken, which raises the question of — does love conquer it all?

The ballet was accompanied by a live orchestra, which in my opinion deserves just as much praise as the dancers as without the music echoing in every corner of the venue, the story and dance wouldn’t have as much power.

Every beat matches every step and emotion perfectly, making it the perfect classic novel retelling.

While the production may not be the easiest for ballet newcomers to follow, its elegance, atmosphere, and emotional weight make for a compelling and rewarding experience — particularly in its powerful second half. (Marta Tavares)

The Telegraph and Argus reports that Emerald Fennell, Margot Robbie and Jacob Elordi stayed at a local hotel at the end of March.

Margot Robbie, who has famously starred in movies such as Barbie, The Wolf of Wall Street, and Suicide Squad, stayed at Halifax's Holdsworth House last month.

The Australian, alongside actor Jacob Elordi and director Emerald Fennell, were filming the new adaptation of Wuthering Heights - set for release in 2026.

The hotel said they dined at the restaurant and spent time chatting to the maître d' Anthony who is also from Brisbane.

They added that the visit was "cloaked in secrecy" so there was no opportunity for photos.

A post on the Holdsworth House Facebook page read: "When Barbie met Brontë at Holdsworth House.

"We were thrilled to welcome actors Margot Robbie and Jacob Elordi, and director Emerald Fennell to Holdsworth House at the end of March!

"The A-list trio stayed overnight while filming a new adaptation of Wuthering Heights on the Bronte moors, with Margot starring as Catherine, Jacob as Heathcliff and Emerald (of Saltburn fame) directing.

"They dined in our restaurant and chatted with our brilliant maître d' Anthony who, like Margot and Jacob, is also from Brisbane, Australia.

"Anthony said the whole evening felt like Brisvegas had come to Halifax!" (Rowan Newman)

The Eyre Guide finds the similarities between Jane Eyre and The Sound of Music.