Blogger has been notified, according to the terms of the Digital Millennium Copyright Act (DMCA), that certain content in your blog is alleged to infringe upon the copyrights of others. As a result, we have reset the post(s) to "draft" status. (If we did not do so, we would be subject to a claim of copyright infringement, regardless of its merits. The URL(s) of the allegedly infringing post(s) may be found at the end of this message.) This means your post - and any images, links or other content - is not gone. You may edit the post to remove the offending content and republish, at which point the post in question will be visible to your readers again.Needless to say, we are shocked and, quite frankly, angry at the stupidity and arbitrariness of such a request. A look at the posts that are not available anymore doesn't show anything that can be even remotely illegal. Checking on Lumen is of no use as we were unable to see exactly why these posts were removed.
A bit of background: the DMCA is a United States copyright law that provides guidelines for online service provider liability in case of copyright infringement. If you believe you have the rights to post the content at issue here, you can file a counter-claim. In order to file a counter-claim, please see https://support.google.com/legal/contact/lr_counternotice?product=blogger.
The notice that we received, with any personally identifying information removed, will be posted online by a service called Lumen at https://www.lumendatabase.org. We do this in accordance with the Digital Millennium Copyright Act (DMCA). You can search for the DMCA notice associated with the removal of your content by going to the Lumen page, and entering in the URL of the blog post that was removed.
If it is brought to our attention that you have republished the post without removing the content/link in question, then we will delete your post and count it as a violation on your account. Repeated violations to our Terms of Service may result in further remedial action taken against your Blogger account including deleting your blog and/or terminating your account. DMCA notices concerning content on your blog may also result in action taken against any associated AdSense accounts. If you have legal questions about this notification, you should retain your own legal counsel.
Sincerely,
The Blogger Team
Affected URLs:
http://bronteblog.blogspot.com/2006/01/jane-eyre-discussion-in-melrose-ma.htmlhttp://bronteblog.blogspot.com/2006/08/hi-yo-jane-eyre-in-edmonton.htmlhttp://bronteblog.blogspot.com/2006/10/jane-eyre-estate-agent.htmlhttp://bronteblog.blogspot.com/2006/10/jane-eyres-anniversary-ghosts-reviews.htmlhttp://bronteblog.blogspot.com/2006/10/reactions-to-third-episode-of-jane.htmlhttp://bronteblog.blogspot.com/2006/11/jane-eyre-on-pbs-and-in-peak-district.htmlhttp://bronteblog.blogspot.com/2008/02/talk-about-jane-eyre.htmlhttp://bronteblog.blogspot.com/2008/03/jane-eyre-back-in-guthrie-theatre.htmlhttp://bronteblog.blogspot.com/2009/01/jane-eyre-in-clovis.htmlhttp://bronteblog.blogspot.com/2009/11/jane-eyre-recap.htmlhttp://bronteblog.blogspot.com/2011/02/jane-eyre-2011-clips-ii.htmlhttp://bronteblog.blogspot.com/2013/02/jane-eyre-2006-dvd-in-france.htmlhttp://bronteblog.blogspot.com/2013/02/jane-eyre-ballet-back-in-shanghai.htmlhttp://bronteblog.blogspot.com/2013/07/jane-eyre-in-bath.htmlhttp://bronteblog.blogspot.com/2016/11/jane-eyre-in-holland-michigan-and-more.htmlhttp://bronteblog.blogspot.com/2017/07/jane-eyre-tattoos.htmlhttp://bronteblog.blogspot.com/2018/03/northern-ballets-jane-eyre-uk-tour.htmlhttp://bronteblog.blogspot.com/2018/05/jane-eyre-in-williamsburg.htmlhttp://bronteblog.blogspot.com/2018/09/treasures-of-british-library-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/01/jane-eyre-in-indiana.htmlhttp://bronteblog.blogspot.com/2006/03/bbcs-jane-eyre-for-christmas-and.htmlhttp://bronteblog.blogspot.com/2006/05/greater-seattle-premier-of-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/06/bewicks-birds-in-sidney-and-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/07/georgie-henley-in-dunes-aka-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/07/some-additional-names-for-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/08/bront-comics-iii-dame-darcys-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/12/hungarian-jane-eyre.htmlhttp://bronteblog.blogspot.com/2006/12/jane-eyre-read-by-juliet-stevenson-on.htmlhttp://bronteblog.blogspot.com/2007/07/jane-eyre-on-stage-1848-1898-review.htmlhttp://bronteblog.blogspot.com/2007/09/kula-kumariya-jane-eyre-in-sri-lanka.htmlhttp://bronteblog.blogspot.com/2008/08/jane-eyre-hathersage-trail.htmlhttp://bronteblog.blogspot.com/2009/07/jane-eyres-daughter-likes-manga.htmlhttp://bronteblog.blogspot.com/2010/11/jane-eyre-in-dublin.htmlhttp://bronteblog.blogspot.com/2010/11/last-chance-to-see-jane-eyre-in.htmlhttp://bronteblog.blogspot.com/2011/03/jane-eyres-husband.htmlhttp://bronteblog.blogspot.com/2011/11/first-edition-of-jane-eyre-in-christies.htmlhttp://bronteblog.blogspot.com/2018/10/jane-eyre-in-madrid.htmlhttp://bronteblog.blogspot.com/2018/12/jane-eyre-1944-in-new-york.htmlhttp://bronteblog.blogspot.com/2019/01/jane-eyre-in-indianapolis.htmlhttp://bronteblog.blogspot.com/2019/01/jane-eyre-in-munich.htmlhttp://bronteblog.blogspot.com/2019/01/jane-eyre-in-newberg.html
This is the title of an article published today in the Minneapolis Star Tribune concerning the Jane Eyre performances at the Guthrie Theatre and particularly, Stacie Rice's role as Jane Eyre:Some youngsters see a production at, say, the Guthrie Theater or on Broadway and are so jazzed by stage magic that they have to be in plays. That is true for Stacia Rice, who saw her first play at the Guthrie at around age 9 -- the same year she first read "Jane Eyre."TwinCities also comments on this production:
When she headlines as the title character in the Guthrie's "Jane Eyre," which opens today on the Wurtele Thrust Stage, she will have arrived at a childhood dream in a most unusual way.(...)
"Through her dedication to broadening her range, through her tenacity, through her continuing reach, Stacia has earned it," said "Jane Eyre" director John Miller-Stephany, who has followed and nurtured Rice's talent over the past several years.(...)
Rice will need to tap into empathy and more for her Jane Eyre. While Englishwoman Charlotte Brontë published her novel in 1847 under a pseudonym, the story has resonated through the ages because of the masterful way it interlaces themes such as romance and morality, class and personal conflict. (...)
In the Guthrie production, adapted by Irishman Alan Stanford (his version of Jane Austen's "Pride and Prejudice" played the Guthrie four years ago), three actors portray Jane. Rice plays the journeying Jane most familiar to readers and viewers of many film adaptations.
"I think of family when I see Jane," said Rice. "She's simple and strong, plain but complex."(...)
When he [John Miller-Stephany] cast Rice as Jane Eyre, Miller-Stephany was confident that she could easily move into all the styles that the play calls for, including romance and gothic. But he had one concern.
"I thought she may have been too glamorous for the part," he said. "Charlotte Brontë wrote this book to expressly portray a plain person."Look at me," Rice said, going into character. "I have no makeup on. I can play plain." (Rohan Preston)
The Guthrie's adaptation of "Jane Eyre," Charlotte Bronte's classic romance novel of 1847, probably qualifies as the "oldest" show opening this weekend, even though the familiar tale will be told in a new adaptation by Alan Stanford. (Dominic P. Papatola)Categories: In the News, Jane Eyre, Theatre
The Minneapolis Star Tribune carries a review of the performances of Alan Stanford's adaptation of Jane Eyre at the Guthrie theatre in Minneapolis: Guthrie plumbs inner depths in not-so-plain version of 'Jane Eyre'. Strong performances by the two leads draw the audience into the story of an abused orphan who finds love.Ushers handed out long-stemmed roses to patrons at the end of Friday night's opening performance of "Jane Eyre" at the Guthrie Theater.Pioneer Press also reviews positively this production: Guthrie's 'Jane Eyre' satisfies fans, wins new ones:
The aromatic flowers, plus free-flowing champagne and lively music, extended a feeling from the play into the lobby. It was as if we had been guests at a different kind of production -- a wedding.
Yet, as "Jane Eyre" began with faintly ominous rumblings and with Jane Senior (played with warmth by Margaret Daly) narrating the story of her bitter childhood as it was acted out by a group of young actors, I did not imagine that mirth would be one of the by-products of the evening.
For one thing, the staging, by John Miller-Stephany, seemed at first to be quite remote, with much of the action taking place at the back of the stage -- a physical distance from the audience that matched the temporal one of the 19th-century setting. It seemed like we might be in for a historical diorama writ large on the Wurtele Thrust.
For another, scenic and costume designer Patrick Clark has chosen a mostly gray palette for the production. The sense of oppression that lends, while thematically apt, suggested an adaptation of a dreary but necessary Chekhov play rather than Alan Stanford's streamlined adaptation of Charlotte Brontë's novel of throbbing hearts.
Yet as lead actors Stacia Rice, who depicted Jane as a young adult, and Sean Haberle, as her would-be love, Rochester, dug deeper into their characters, the production drew us in. In portraying a self-controlled and consistent Jane, Rice used gestures and articulation to subtly reveal how a once-abused girl can imagine the possibility of love as an adult. Haberle gave Rochester a gruff, quaking embodiment. We get a sense from his muscular portrayal that Rochester's domineering persona is a cover for his ills.
The play accomplishes two beautiful things simultaneously: transporting us into the lives of characters created more than a century ago and making their story, even with some weird elements, feel contemporary.
Part fairy tale, part Gothic romance, Brontë's narrative carries us through the experiences of the principled and plain Jane Eyre. A put-upon orphan, she is first oppressed by her abusive relations. She lands in a religious charity school where discipline is at the tip of a cane. She survives that experience.
Jane accepts a job as a governess at Rochester's estate. She falls for him and he for her, but he's a man of mystery and tormenting secrets (suggested at times by composer Andrew Cooke's melancholy and feedback-sounding score).
The Guthrie's "Jane Eyre" succeeds because the main characters' inner lives are so palpably and vividly depicted by Haberle and Rice, who have a strong chemistry.
Rice's Jane is a character of simplicity and grace. Jane often is compared to a bird and to a nun, and Rice gives her a fluttery grace.
There are also smaller but potent performances by Barbara Bryne as Mrs. Fairfax, on the domestic staff of the Rochester estate; Charity Jones as a haunting, bat-like figure from Rochester's past; Barbara Kingsley as the sneering and sibilant Lady Ingram; and Nathaniel Fuller as the cruel and hypocritical Mr. Brocklehurst. (Rohan Preston)
(...)Alan Stanford offers a scrupulously faithful adaptation for the stage. His script bookends the tale with a mature, matronly Jane (a knowing, pleasingly unsentimental Margaret Daly) looking back over the events of her life and periodically conversing with her younger selves.Categories: In the News, Jane Eyre, Theatre
From the first words out of her mouth, it's evident that young Jane (bright-eyed fifth-grader Lucy Lawton) was born too early to live in mid-19th century England. She's lippy and she's opinionated and - uh-oh - she reads.
It's inevitable that this orphan will tangle with her bad-willed, bourgeois relations and get cast off into the world and grow into young womanhood facing a harsh world where her principles and her heart will be tested by the mysterious, brooding Mr. Rochester.
Stacia Rice might not be the plain-looking, puny Jane that Bronte had in mind, but she's the very incarnation of how young female readers probably pictured her. Her barely disguised beauty rides on a steel-spined carriage whose outward strength is belied by a fluttering smile. Jane's life is no picnic, and Rice lets us see that struggle as well as the core of unapologetic self-pride and certainty that sees her through.
Wild haired, with a face that looks chiseled out of stone and eyes always ready to taunt or tease, Sean Haberle's Edward Rochester strikes an intriguing and propulsive balance. His Rochester is a volatile man whose Dr. Jekyll seems forever at war with his Mr. Hyde, and as likely to explode in anger as in delight. With Rice, their characters struggle and strive to forge a hard-won love that starts as a meeting of the minds and becomes a melding of souls.
And they're well supported at every turn. From Charity Jones' beautiful, bestial Bertha to Barbara Bryne's bemused and dutiful Mrs. Fairfax; Peter Christian Hansen's more-righteous-than-thou St. John Rivers to Nathaniel Fuller's Dickensian schoolmaster Brocklehurst; Peggy O'Connell's rough-hewn Grace Pool to Ron Menzel's tortured and fraternal Richard Mason, they make the characters of Bronte's world come to vivid life.
Clocking in at just under three hours, John Miller-Stephany's direction - set on Patrick Clark's plain, looming set of gray battlements and circular platforms - hits the right notes and finds the wry humor that's not immediately evident on the page.
His staging drags in the same places the novel does (most notably in the time between Jane's tearful departure from Thornfield and her reunification with Rochester), but Andrew Cooke's underscoring lifts the proceedings with a cinematic sweep.
His music foreshadows dark secrets, celebrates romance with reserve and helps complete the Guthrie's not-insignificant achievement of honoring a literary classic while giving it leave to breathe anew. (Dominic P. Papatola)
We suppose that the Creole-Brontë connection is through Bertha Mason's West Indies origins. There's also a Cowan Bridge School schoolfellow of Charlotte Brontë's, Mellany Hayne, who was arguably of Creole origins. Nevertheless, recent research by Sarah Fermi (BST, v27(3), 2002) suggests that although there were West Indies family connections, she was not a Creole (see R. Barnard, Brontë Encyclopedia).There is a chance to find out about the links between Creole culture and Manchester over the next few days as local historian Dominique Tessier leads guided Black History Trails through the city.
The walks on September 6, 7 and 8 have been organised as part of a conference at Manchester University examining the blending of French, Spanish, British and Afro-Caribbean cultures, entitled ‘Creolising Europe’.
Participants will discover how 18th century Haitian slavery resistance leader Toussaint l’Ouverture and jazz legend Louis Armstrong had connections to Manchester, and what Charlotte Brontë and Karl Marx had to do with Creole culture. (Caroline Lewis)
Twin Cities native has taken that love into the leading role in the Guthrie Theater’s Jane Eyre, a tale of romance and suspense opening September 8 at the Guthrie. “I am deeply honored to have the title role at the Guthrie. I am also incredibly honored to play a character as deep and rich as Jane Eyre,” said Rice. (...)Buddytv reports a Wuthering Heights reference in today's episode of the eternal soap The Young and the Restless:
Rice admires her character’s strength and spirit. “Jane Eyre represents the pride in being a strong woman, but she also represents my personal fears,” reflected Rice. “There’s no money, no fine clothing, no physical beauty, yet she [Jane Eyre] is strong, smart, wise and kind.”
This adaptation of Jane Eyre by Alan Stanford “allows me to exist in Jane’s world. I can open up and be overtaken by her story,” noted Rice. She admires Jane Eyre’s strong moral attitudes. “I would love to be that way. I would love to share Jane’s kindness for humans, but I cannot claim to be as morally steadfast,” said Rice. (Jennifer Holder)
After the opening credits, we find ourselves with Jana and Kevin in the hospital. The doctor is about to give them the story on how Jana's surgery went, and the two prepare themselves for the news, making a reference to Wuthering Heights in the process. I can guarantee you that Kevin has never read Wuthering Heights. (Debbie Chang)Wuthering Heights also plays a role in this dramatic/sensationalist article about madness and drugs in the Daily Mail.
Jane is the woman I attempt to model my life on. That doesn’t always go well but I remind myself that Jane had to struggle in order to grow into the remarkable woman who pronounces the proto-feminist statement of choice, ‘Reader, I married him.’.The other link is this contest in Marta Acosta's blog: Best & Worst Trailer of a Classic Novel. Christina has participated with a trailer of Jane Eyre. See it here.
This is an extraordinary phrase in itself and Jane has much more to say about independence and respect. (Read more) (Jodie)
“And when you are in one part of the country you are often asked that, while you are there, could you do this other thing?” Hence his visit to Crosby with Gabriel Wolf, the veteran actor, with whom he often works. [...]Here are the date and venue details:
His Crosby visit will find Dexter talking about other writers like Dickens, Charlotte Bronte and Thomas Hardy with Wolf reading the extracts. (Philip Key)
Crosby Civic Hall: Wednesday, October 10, at 8pm (box office 01704 540011).The Philadelphia Enquirer looks at the eternal question of classic novels - Jane Eyre among them - being compulsory reads at school.
Here are some of the books read by Cherry Hill High School West principal Joseph Meloche, with selected comments. [...]An exhibition on Paula Rego's art has just opened today at the Spanish museum Reina Sofía (Madrid). According to Revista de Arte - Logopress (and the museum's own website) the exhibition will include works from her Jane Eyre series.
12th grade
Jane Eyre, Charlotte Bronte: "It's a hard one for the kids, but we ask them to read it as seniors, and at the level, it's appropriate." (Kristen Graham)
I’m trying to remember the last time I was so deeply moved by a live performance, and I’m not able to come up with anything. Jane Eyre was just stunning.Marcinism posts about deconstructing Jane Eyre:
Having loved Jane Eyre for thirty years (and having written a chapter of my doctoral dissertation on the novel), I was initially a little skeptical about the idea of a three-hour dramatic adaptation. Things that work well on paper don’t always translate well to the stage. And Jane Eyre presents a number of dramatic challenges. First of all, the novel is bleak. The themes are abuse, religious coercion, and a brutal, almost unrelenting loneliness. Besides that, Jane Eyre owes much of its force to Jane’s reflective and imaginative narration–a narrative style that can’t easily be embedded into stage dialogue. And finally, the novel’s love story mostly takes place in the heroine’s head, conveyed through interior monologue, and Rochester’s bullying behavior and gruff language aren’t (on the surface) very love-worthy.
But the Guthrie’s production handled all those obstacles wonderfully. Jane (sensitively portrayed by Stacia Rice) and Rochester (Sean Haberle) have great, funny chemistry. I never expected that Jane Eyre could be funny!
Even better: through the technique of creating an older Jane who comments on the action (like a Greek chorus) and interacts with the younger Jane, Bronte’s beautiful narrative style was able to be preserved. This strategy enabled the performers to showcase some of my favorite passages from the novel–like the sad scene where Jane tells herself to paint a faithful self-portrait and one of her beautiful rival and to place them side-by-side whenever she’s tempted to imagine herself worthy of Rochester.
Yes, the production was bleak. Dark sets, gray colors, restrictive costumes, and lots of repressed emotion. But these elements only made the happy ending all the more cathartic when it finally came. Jane’s crushing loneliness has ended, and she is at last in the arms of a man who knows what it is to suffer and who loves only her.
“Reader,” says the older Jane (just as half of the audience begins to weep), “I married him.”
For example, deconstructive reading of Jane Eyre, by Charlotte Bronte would indicate that while Jane assumes the activities of the traditional woman in opposition to the male characters in the novel, that her ultimate will and power identifies her as strong and not weak. The hierarchies are then upset and begin to unravel. It is important to note however, that the deconstruction of binary oppositions is not a task to endure by the reader or critic, yet the oppositions deconstruct from within the text.Hmmmm... deconstruction - not our cup of tea.
Cathy and Heathcliff and the rest of the Wuthering Heights clan would be the best, though. Of course they would show up on the trashiest show possible. Ricki Lake? Maury Povich? Jerry Springer? I don't know what the latest trainwreck show is, but they'd be on it.Fantastic. But the following, from Tales from the "Liberry", is not less so. What's more, this is real!
shimmer shimmer dream sequence shimmer shimmer
First Edgar would come on, all downtrodden, wearing khaki pants and a French blue shirt, talking about how he loves his wife, but he just doesn't understand her. And (his voice drops with shame) he thinks she might be cheating on him.
"MIGHT BE? Hell fucking yeah I'm cheating on you," Cathy bellows as she enters. She wears a white wife beater over a black bra, and lowrider jeans that showcase the top of her thong and the tramp-stamp tattoo on her lower back that reads HEATHCLIFF.
Heathcliff trails behind her, wearing black, smirking.
Edgar rises to kiss Cathy on the cheek as she evades him to the hoots of the audience. As C & H sit, Isabella comes trailing in wearing mom jeans and a sweatshirt. When she cannot find a chair to sit next to Heathcliff she plops down next to Edgar and begins snivelling into a tissue pulled from her sleeve.
"What are you crying about? You couldn't keep your man, and someone else done got him," Cathy says. "I mean, my love for Heathcliff resembles the eternal rocks beneath--a source of little visible delight, but necessary. He's always, always in my mind--not as a pleasure, any more than I am always a pleasure to myself, but as my own being. So step off, biznatch!"
Edgar borrows a Kleenex from Isabella. Heathcliff snickers and gets a pinch of Skoal. The audience hoots and barks.
shimmer shimmer dream sequence shimmer shimmer
SETTING: My "liberry" as a female patron approaches the circ-desk from the direction of our nonfiction section.Categories: Alert, Art-Exhibitions, Humour, Jane Eyre, Scholar, Talks, Theatre, Wuthering Heights
PATRON— Hi. I'm looking for Jane Eyre.
ME— Ah. That will be over in our fiction section, under Brontë.
PATRON— No, I need the biography of her. About her life.
(Pause)
ME— Um... (Pauses again to consider how best to politely break the news to her. Realizes there is no good way. Proceeds...) Jane Eyre is a fictional character in a book written by Charlotte Brontë.
PATRON— (Long pause) Oh. (Long pause) I must have misunderstood.
Today we have a wide stock of Brontë references: Margaret Atwood writes in The Guardian about Lucy Maud Montgomery's Anne of the Green Gables saga and Jane Eyre makes an appearance:The saying might be that "it's grim up north" - but it's not for novelists as the north of England has been named the best possible literary backdrop available in British literature.
The region - loosely defined as the land either side of the high Pennines, extending north to the Scottish Borders - was the winner in a survey carried out for a new ITV show, Melvyn Bragg's Travels in Written Britain.(...)
Voters cited the perennially successful Catherine Cookson novels, Wuthering Heights by Emily Bronte and Jane Eyre by Charlotte Bronte as some of the most memorable books set in the north of England. Both the Bronte sisters lived in Haworth, in Yorkshire, and were schooled in Lancashire.(...)
Jane Austen's Pride and Prejudice was also voted the favourite book set in Britain, followed by four more classics: Wuthering Heights, Jane Eyre, Rebecca and Great Expectations by Charles Dickens. (...)
The survey of around 2500 people was carried out to mark Bragg's television show, the first part of which is broadcast on April 6. During the one-hour programmes, Bragg also takes a look at the contrasting works of Scots authors Sir Walter Scott and Irvine Welsh. (Phil Miller - Reproduced with the permission of The Herald, Glasgow © 2008 Herald & Times Group)
Judging from what we know about the lives of orphans at that time, including the many "London street Arabs", as Marilla calls them, that were being sent to Canada by the Barnardo homes, a statistically accurate Anne would have continued to be poor and neglected. However, through luck and her own merits, Anne is rescued by the Cuthbert siblings, thus joining a long line of redeemed fictional Victorian orphans, from Jane Eyre to Oliver Twist to little Tom the chimney sweep in Charles Kingsley's The Water Babies.The Scotsman reviews Other People's Daughters: The Life and Times of the Governess by Ruth Brandon:
THE MOST FAMOUS GOVERNESS IN literature is undoubtedly Jane Eyre, but as Ruth Brandon points out in this slightly misfiring study, her fate as the eventual wife of her employer was hardly the traditional lot of the Victorian governess. For most, it was a lonely job with long hours, little pay and scant appreciation of their efforts.The Times once again mentions the Heathcliff/Rochester inside Gordon Brown:
Brandon's approach is to look in detail at the lives of six governesses: Agnes Porter, Mary Wollstonecraft, Claire Clairmont, Nelly Weeton, Anna Leonowens and Anna Jameson. Of these six, perhaps Wollstonecraft is the most well-known, although Leonowens was the model for Deborah Kerr's governess in the film version of Leonowens's life, The King and I, and Clairmont was the step-sister of Mary Shelley, who also bore Byron a daughter.
In that sense, then, Wollstonecraft, Clairmont and Leonowens are as atypical of the governess experience as Jane Eyre was. (Read more) (Lesley McDowell)
It's as bad as trying to find a Gordon Brown. Despite castings in the UK and global searches she can't find anyone to play him, “which is annoying as you don't know how long he'll be PM. The problem is he has very old-fashioned looks, Heathcliff or Rochester, tight breeches, muddy lanes, high collars, lambchop face. I've just found an odd-job man in Bulgaria who might fit the bill actually.” (Tim Teeman)The New York Times Travel Spring 2008 Guide devotes an article to Taipei and discovers yet another set of the-Brontës-of (insert pertinent city/country):
Chu T'ien-hsin and her sister [Chu T'ien-Wen] are a bit like the Brontës of Taiwan. They're big time novelists and short-story writers. (Taipei's dailies publish literary supplements, so high brow short stories reach an unusually large audience.) I wanted to talk to Chu about her novella "The Old Capital", which came out in English last year. (Douglas MacGray)TV Blink makes a very unlikely comparison: X-Files's Fox Mulder and Heathcliff:
During the clip reel of the nine-season show, “X-Philes” cheered for sci-fi Heathcliff Fox Mulder and savvy strawberry Sno-Cone Dana Scully. (Chad Rooney and Julieanne Smolinski)The Eloy Enterprise's editor uses a Jane Eyre quote for the title of the article:
"Your self-love dreads a blunder," a certain Mr. Rochester told a literary heroine, Jane Eyre, once upon a time. (Lindsey Gemme)Now for the blogosphere: neon epiphany posts about different Jane Eyre adaptations. Her favourite is Jane Eyre 1973. GirlDetective has seen Alan Stanford's adaptation of Jane Eyre at the Guthrie Theatre and is not at all thrilled:
I understand that details of the story must be cut or compacted to get the audience home before midnight. I missed many of my favorite scenes, such as Jane in the red room. I was disappointed in the staging decisions of others. (...) Perhaps this was enjoyable to those who hadn’t read the book at all, or for a long time. Perhaps it will inspire people to seek out the book. (...) I am too familiar and have too much affection for the source material to appreciate adaptations for themselves. And yet, I know I’ll continue to see them, if only for the brief moments that they bring to life wonderful parts of the books, like the humor in Jane Eyre that is so often overlooked in its reductive description as a dark, gothic tale.A very different reaction to the same play can be read on wonderment:
But I will say that Jane Eyre at the Guthrie was wonderful. It was yet another take on a fantastic story. I’ve watched the BBC miniseries (my favorite), read the original book (not so excellent, but must be appreciated for the beauty that the story is, even if I didn’t care for the writing), and now seen the stage version. All were special in their own way. I thought the miniseries was more true to the book than the stage version, but the modifications for the stage made sense for thatCategories: Books, Haworth, Jane Eyre, Movies-DVD-TV, References, Theatre
Jane Eyre is a well-loved character in and out of Charlotte Bronte's 1847 novel where she, plain looking, plain-spoken, and plainly wronged, carves out a life of purpose for herself wherever fate sends her. I love Jane Eyre. So it is hard for me not to warm up to a production that is affectionate for her reserved demeanor and sympathetic toward her steely spine and strict principles. Such is the case in Mergatroyd Production's Jane Eyre, adapted and directed by N.G. McClernan. Alas, although the play is energetically performed by all onstage, the tone, texture, and interpretation of this production didn't entirely work for me. In short, I didn't fall in love with it, which I expected to going in, being already in love with the source material.The Chicago Tribune reviews the Dance COLEctive's performances of Second Journeys which we presented some days ago:
The play tells only the part in the novel about the relationship formed between the two protagonists, Jane Eyre and Mr. Edward Rochester. Jane is hired as a governess by Mrs. Alice Fairfax, housekeeper of Thornfield Manor, for Rochester's ward. Jane and Rochester forge a bond despite their 20-year age difference and disparate social standing. But secrets and personal choices will force them apart. Jane leaves and by chance finds her cousin, St. John Rivers, who pursues her for his missionary work. The first scene is a flashforward to one of the key moments in the story—Jane bids farewell to Rochester after their botched wedding. Then the tale goes back to their first encounter and subsequent romance.
Clocking in at two and half hours, this adaptation finds key plot moments and breaks them down into short and quick scenes, some of them rather simplistic, others impressionistic, with as little as a few lines or gestures. These scenes are more cinematic than theatrical in nature—a couple of them even feel shorter than the scene change in between. This translates to a fragmented experience in which tension and suspense is hard to sustain. McClernan uses an array of clever devices to visualize the introverted narrative from the novel, and injects a few interesting twists toward the end. She also attempts humor and levity, something rarely done in the adaptation of Jane Eyre.
Yet one vital thing is missing from the flurry, and that's the emotional intensity between Jane and Rochester. Since this adaptation confines itself entirely to the love story, it is essential that this love come to life and sear through the oppressive doom of social censure and cruel fate. However, the progression of their relationship is not convincing; there lies in it very little connection between them. The rapid pacing and choppy script contribute further to a sense of superficiality and incompletion. While carried out with thought and proficiency, the play feels temperamentally scattered and abrupt. It's telling a canny, effervescent tale that should have been both delicate and impassioned. Other crucial ingredients are also largely absent: tormented souls, erotic longing, looming violence and disaster, and a genuine battle between one's desire and the social norm.
That being said, the performers are very competent and often sparkling, with most of them pulling double roles. Mary Murphy makes an earnest, and sunnier than usual, Jane. Alice Connorton's Fairfax is warm and full-fleshed. Nat Cassidy's St. John is nuanced and particularly affecting. While I'd like Rochester to be a lot darker in temper and mood, Greg Oliver Bodine's verbal delivery is smooth and refined.
Worth noting, also, is the fact that my companions—four in all—enjoyed the play. Where I found lack of depth and feeling they saw clarity and variety. Maybe this is what happens to someone such as myself who has loved the book and tried to see every adaptation available: there are particular sensations I look for, and the book leaves very large shoes to fill indeed. (Kat Chamberlain)
Death, decay, mortality. These are the ideas that permeate "Second Journeys," the Dance COLEctive program running through Saturday at the Dance Center of Columbia College. It implies travel to another dimension -- even deep within one's own soul. But, ironically, the macabre tone builds to an uplifting finale.Broadway World announces the Alan Stanford's Jane Eyre revival at the Guthrie Theatre for next month:
Margi Cole's reworking of her 2005 full-length, Bronte sisters-themed "Written on the Body" is the evening's centerpiece. (...)
The second half is devoted to Cole's multimedia sextet "Written on the Body," inspired by British authors Charlotte, Emily and Anne Bronte and their early strategy of writing under male pseudonyms. But it's more accurately a stark and stately dance reflection -- albeit sometimes too drowsily dirgelike -- on sacrifice and the imaginative spirit. (Lucia Mauro)
The Guthrie today announced that audiences will have another opportunity to see Jane Eyre when its popular stage adaptation of the classic Charlotte Brontë novel returns for a limited engagement in March 2008. The production, directed by Associate Artistic Director John Miller-Stephany, will play 20 performances on the Wurtele Thrust Stage from March 8 – 30. Tickets are priced from $29 to $59 and are on sale through the Guthrie Box Office at 612.377.2224, toll-free 877.44.STAGE and online at www.guthrietheater.org.Categories: Dance, Jane Eyre, Theatre
Twin Cities actress Stacia Rice will return to play the title character opposite Sean Haberle's Edward Rochester, in the stirring adaptation by Alan Stanford, whose version of Pride and Prejudice also earned rave reviews from audiences and critics alike when it was mounted at the Guthrie in 2003.
Stanford introduces the audience to Jane Eyre at three ages: as a child of 12, a young woman of 18 and as a 50-year-old woman writing her memoirs, which serves as the framing and narrative device for the production. Margaret Daly and Lucy Lawton will return to play Jane Senior and Child Jane, respectively. (...)
The 30-member Jane Eyre cast also includes Jessie Austrian (Blanche Ingram/Barbara), Jennifer Blagen (Miss Scatcherd/Diana Rivers), Barbara Bryne (Mrs. Fairfax), Caroline Cooney (Leah), Laura Esping (Miss Temple/Mary Rivers), Nathaniel Fuller (Mr. Brocklehurst/Mr. Wood), Peter Christian Hansen (St. John Rivers/Surgeon), Charity Jones (Mrs. Reed/Bertha), Barbara Kingsley (Lady Ingram/Hannah), Ron Menzel (Richard Mason), Peggy O'Connell (Grace Poole) and Peter Thomson (Lord Ingram/Briggs). Sean Michel Dooley replaces John Skelly in the role of Davie for this return engagement.
In addition to Lawton, Makenzie Allen (Georgiana Reed/School Girl), Grace Blevins (Adele), Shane Ellis (John Reed) Shelby Flannery (Helen Burns/School Girl), Alexis Gaither (Girl Pupil #1/School Girl), Hanna Kowalczyk (Orphan/Annie), Mac Rasmus (Broughton Brocklehurst), Amy Schroeder (Orphan/School Girl), Tiara Shockency (Eliza Reed/School Girl) and Caledonia Wilson (Orphan/Marjory) join the children's cast, with Dana Clausen, Paul McGuire and Glen Stone serving as essentials for the production.
The artistic staff includes Patrick Clark (Set and Costume Designer), Matthew Reinert (Lighting Designer), Andrew Cooke (Composer), Scott W. Edwards (Sound Designer), Carla Steen (Dramaturg), Lucinda Holshue (Voice and Dialect Coach), Marcela Lorca (Movement), Peter Moore (Fight Director), Chris A. Code (Stage Manager), Amy Monroe (Assistant Stage Manager) and Suzy Messerole (Assistant Director).
First, a new outbreak of Eyre's wordplay. It's a virus that affects practically all journalists trying to review something related to Jane Eyre. From St. Cloud Times, reviewing the Guthrie's performances of Alan Stanford's Jane Eyre:PHOTO CREDIT: Photo courtesy of the Guthrie TheaterThese performances are also commented on Things I have seen/heard/read and on GalleryStorage.
Stacia Rice (Jane Eyre) and Sean Haberle (Edward Rochester)
'Eyre' doesn't err on style
In the hands of lesser forces, Charlotte Brontë's "Jane Eyre" could have been like an old war horse being given its final fling before being sent to the knackers yard.
But with the combined talents of director John Miller-Stephany and Alan Stanford, who adapted it for the stage, Brontë's celebrated novel is an exercise in fluidity of style, its darkly pendulous tones giving way to moments of hope, with indomitable spirit and patient endurance.
The gloomy opening tends to set the tone, but Stephany along with set designer Patrick Clark skillfully give us moments of light and shade that penetrate the overarching somberness of the proceedings.
Old vs. young The story is told on two levels. Margaret Daly as the older Eyre narrates and gives us an anchor from which to observe the canvas unfolding before us in epic style. Daly is a solid presence with her powerful narration and interacts beautifully with Eyre the younger (Stacia Rice) who gives a luminous portrayal of Brontë's heroine.
The younger Eyre is strong and determined. She is brought up in a church orphanage where the emphasis is on strict discipline and harsh punishment, metered out by a cane. Jane is not easily beset as she battles her way through a society in which women weren't independent and in the middle classes lived in hopes of finding a husband for their future security.
Eyre escapes the oppressing orphanage by applying for the post of governess on the Rochester estate. She is hired by the kindly Mrs. Fairfax (Barbara Bryrne).
Her appointment is not without concern. These become heightened when strange sounds are heard in the night. On returning from his travels, she comes face to face with Edward Rochester (Sean Haberle), a dark, brooding man whom she realizes is deeply tormented by something in his past. They become attracted to each other and fall in love.
Strong performances Haberle and Rice are perfectly cast in their roles. His character is fully realized by strength and fear, which he tries to cover with his blustering manner. Rice brings strength to Eyre, too, and adds a deftness that is light and compelling.
The entire cast succeeds in transporting its audience into the period of the play, and at the same time, provides a deepness to its characters as they rise to the occasion.
What could have been conceived as an evening of gloomy 19th-century melodrama, Stephany and his vibrant cast present us instead with flesh and bone characters that give us a wonderful piece of stunning theater. (Christopher Trussel)
With echoes not only of "The Sixth Sense," "The Others" and "The Shining" but also diverse films like the troubled-mother pic "Not Without My Daughter" and gothic classics like "Wuthering Heights," "Orphanage" differs in a number of ways from "Labyrinth." But with its conceit of a child who may or may not be seeing what's invisible to everyone else -- and its larger themes of lost innocence and unredressed regret -- it owes a heavy spiritual debt to that movie. (Steven Zeitchik)BrontëBlog has seen the film and besides an isolated house, we cannot think of any other similarity with Emily Brontë's novel.
Character is a vital aspect of criticism. Most effective literature is an emotional as much as an intellectual experience after all. It's the actors in the drama that generally form the focus for this emotion. What's more, our relationship with literary characters inevitably changes the texture of books and the way we view crucial scenes. (...)Needless to say on a blog like ours, we rather disagree :). We notice the unusal choice of illustration on the post: Jane Eyre 1963 with Ann Bell and Richard Leech.
And, in case all that emotionalism is troubling all those who like to apply more rigorous aesthetic judgements to their appreciation of art, just consider the skill and human empathy needed to create a successful character. Anyone can write a bore. The magic lies in conjuring - with words alone - someone we can love.
However, that's not to say that the individuals in books that we don't warm to are necessarily artistic failures. Just as often, they are salutary reminders of just how subjective the appreciation of literature really is.
I'm also pretty certain that the prospect of a lifetime with Jane Eyre would have me eyeing up the attic as a very pleasant place to go insane in[.]
If this had been a Stella Gibbons-like spoof, it would have been a lot more enjoyable. As it is, it comes across merely as a poor imitation of its great 19th-century. precursors. (Christina Koning)The Fondrem Theatre Workshop performs Charles Ludlum's The Mystery of Irma Vep. The dates: October 25-28 and November 1-3 in Meadowbrook Mart in Jackson, Mississippi.
Via Flavorwire we have come across a recent article from the Guardian on the forthcoming auction Capture the Imagination: Original Illustration & Fine Illustrated Books to take place next December 9th in New York at Bloomsbury Auctions. One of the illustrations piqued our curiosity when it was described as follows: An "extremely rare" edition of Maurice Sendak's first picture book Good Shabbos, Everybody – commissioned after the illustrator Leonard Weisgard saw one of Sendak's window displays for FAO Schwartz in New York – is also on offer, as well as a poster Sendak drew for a 1979 New York book festival, showing a Wild Thing relaxing against the Empire State Building, eating a (big) apple and reading Villette. (Alison Flood)You can see said poster here on the right though we will have to take their word for it as the the title - Villette - on the spine can be barely guessed at in this low-res image. This is Bloomsbury Auctions' description of this item:
317. SENDAK, Maurice (b. 1928) New York Is Book Country Colored poster for the first annual autumn festival of books on Fifth Avenue, September 16, 1979 (60 x 48 mm). warmly inscribed to james marshall in ink and dated “sept. ‘79.” Framed. Provenance: James Marshall.Depicts a Wild Thing relaxing against the Empire State Building as he enjoys a big apple and a good read-- Villette by Charlotte Brönte [sic].More plans for December, as seen on BroadwayWorld (Pittsburgh).
est. $500 – $800 (Picture source)
Pittsburgh Irish & Classical Theatre is staging an elaborate new theatrical version of Charlotte Brontë's masterpiece Jane Eyre for the holiday season! The production opens on December 3rd in the Charity Randall Theatre at the Stephen Foster Memorial in Oakland, and runs through December 20th.More details on the theatre's own website.
Young Jane Eyre is abandoned by cruel relatives and left to her fate at the harsh and imposing Lowood School. She grows into a plain but intelligent young woman, and travels to the mysterious Thornfield Hall to work as governess. The Byronic master of the gothic mansion, Edward Fairfax Rochester, sweeps her off her feet -- but a dark secret from his past threatens to tear them apart. Will true love overcome all obstacles? Written in 1847, Jane's inner strength and determination to overcome adversity make her one of the most endearing heroines of classic literature.
A family-friendly adaptation by PICT Associate Artist Alan Stanford (Salome), Jane Eyre set box office records at the Gate Theatre in Dublin, Guthrie Theatre in Minneapolis, and Maintoba Theatre Center. This huge hit presents the audience with not just one Jane, but three! The play begins with young Jane (Jenna Lanz), the orphaned child left to fend for herself in a harsh world. As young Jane ages, she becomes middle Jane (Allison McLemore) - the simple governess whose inner beauty and intelligence win the heart of the stolid, implacable Mr. Rochester (David Whalen). Throughout the play, Shelley Delaney guides the audience through the story as older Jane, sharing her life story with us as it unfolds.
Scott Wise directs, and Douglas Levine returns to the PICT stage with an original music score. Costumes are designed by Diane Collins. Gianni Downs and Andrew David Ostrowski bring the world to life through set and lighting.
The brooding, mysterious Mr. Rochester will be played by Pittsburgh favorite David Whalen. Whalen is currently starring as the tortured doctor in City Theatre Company's production of Dr. Jekyll and Mr. Hyde. His previous PICT credits include The Shaughraun, Julius Caesar, Stuff Happens, The Lieutenant of Inishmore, Pride and Prejudice, An Ideal Husband, and King Lear. Whalen is the recipient of the 2007 Pittsburgh Post-Gazette Performer of the Year and 2008 Kevin Kline Award for best actor (St. Louis Rep, The Lieutenant of Inishmore).
Allison McLemore makes her Pittsburgh debut in the role of Jane. Her credits include the role of Jo in Little Women with Peterborough Players, Roxanne in Cyrano de Bergerac for the Pennsylvania Shakespeare Festival, and Eliza Doolittle in Pygmalion at Creede Repertory Theatre, for which she won the Denver Post Ovation Award. Most recently she was in The Madras House at the Mint Theatre.
Also making her PICT debut is Shelley Delaney, playing senior Jane. Head of the Professional Actor Training Program at Ohio University, Delaney's credits include Free Man of Color at Victory Gardens (Joseph Jefferson nomination), numerous productions at Capital Repertory Company including Sylvia (Best Actress, Metroland Newspapers), and numerous productions at Two River Theatre Company including The Dining Room (Best Supporting Actress, New Jersey critics/Star Ledger).
Kate Young returns to Pittsburgh to play the dual roles of Mrs. Fairfax and Hanna. A former Pittsburgh resident and professor at Point Park University, Young currently resides in Chicago. Her previous PICT credits include Doubt, Synge Cycle (Riders to the Sea, The Well of the Saints), Salome, Endgame, James Joyce's The Dead, The Cripple of Inishmaan, Major Barbara, and Faith Healer.
Scott Wise, who directed PICT's hugely-successful productions of Pride and Prejudice and James Joyce's The Dead, returns to direct Jane Eyre. Wise is a professor in the School of Theater at Point Park University, and was the founder and artistic director of Pittsburgh International Folk Theatre, for which he was awarded the Pittsburgh Magazine Harry Schwab Award. His many directing credits include recent productions of the musicals The Rocky Horror Show with Point Park Conservatory, and the world premieres of Streets of America (also with the Conservatory) and Eastburn Avenue at The Rep.
Original music for Jane Eyre is composed by Douglas Levine, whose PICT credits include original music for Pride and Prejudice, The Shaughraun, as well as Mother Courage and Peer Gynt for The Rep, and Mimoun for Pennsylvania Dance Theater. Levine was also the composer of the musical Eastburn Avenue, which premiered at The Rep in 2008. As an arranger, Levine has worked on PICT's Boston Marriage and Private Lives, and was the featured pianist in PICT's production of The False Servant.
Costume designer Diane Collins makes her PICT debut with Jane Eyre. Locally, Collins has worked with Dance Alloy, Pittsburgh Opera Theatre, CMU Opera and School of Drama, Three Rivers Shakespeare Festival, City Theatre at Hartwood, and Pittsburgh Ballet Theatre. She has also worked extensively in film, with credits including costume design for Hollywood & Wine and The Bridge to Nowhere, and wardrobe supervisor for Shelter and Dogma.
Returning to PICT are scenic designer Gianni Downs, whose many PICT credits include Boston Marriage, Stuff Happens, Lieutenant of Inishmore, What the Butler Saw; and Andrew David Ostrowski, whose designs for PICT include Private Lives, King Lear, and Doubt.
The production also features Courtney Bassett, Christine Clark, Julia Concolino, James FitzGerald, Lisa Ann Goldsmith, Jeremy Hois, Jenna Lanz, Larry John Meyers, Catherine Moore, Joel Ripka, Laurel Schroeder, and Anna Van Valin.
Jane Eyre runs December 3rd through 20th at the Charity Randall Theatre in the Stephen Foster Memorial, 4301 Forbes Avenue in Oakland. Special student matinees are scheduled for December 2nd and 8th at 10 a.m. Tickets are on sale now, and are available by calling ProArtsTickets at 412.394.3353 or visiting ProArtsTickets online at www.proartstickets.org. To schedule a group for the student matinees, contact Eric Nelson at 412-561-6000 x206 or email enelson@picttheatre.org More information about the play is available on the PICT website, www.picttheatre.org. WDUQ-FM is the media sponsor for Jane Eyre.
Of the Brontes, D.H. Lawrence announced 'Verging towards pornography' - what a quote for the paperback! (Roger Lewis)We would just like to point out that D.H. Lawrence's opinion was on Charlotte Brontë, particularly on Jane Eyre. Not on Emily, not on Anne.
Edward: Our romantic hero’s name was inspired by “Edward Fairfax Rochester” from classic Charlotte Bronte novel Jane Eyre.Zap 2 It suggests a few books that you may like if you enjoy Twilight. Wuthering Heights is of course on the list.
Wuthering Heights by Emily BronteEncore Online has an article on noticeably fake accents. Kevin Costner makes it to number 1 thanks to his Robin Hood accent, which is described as follows:
Bella wants to jump Edward Cullen's bones, but he refuses, he knows it's a bad idea... so honorable, yet so frustrating too. "Wuthering Heights" has the same sort of deal going down: a crazy passionate love between Heathcliff and Catherine Earnshaw which simply cannot be. It'll drive you insane. And it's pretty dark too.
1. Kevin Costner—Robin Hood: Prince of Theives [sic].On the blogosphere, Jane Eyre is reviewed by The Bookshelf and Ready to Read. xo.sorcha.ox posts about Wuthering Heights. And Fly High! and vvb32 reads have joined Laura's Reviews All About the Brontës Challenge.
Yes, it’s an easy target—but that’s because it sticks out like a fireball in a coal mine. His accent was lazy and off-putting, something made even worse by the actual Englishman playing the supporting roles. To be fair, this accent wouldn’t have been convincing in a 3rd-grade dinner theater production of Jane Eyre. (Anghus Houvouras)
Playbill carries an article about the Minneapolis performances of Jane Eyre at the Guthrie Theatre, now in previews (the official premiere will be next September 14).Directed by John Miller-Stephany, the production features Jane at three ages, played by three different actresses: Stacia Rice plays the adult Jane, while Lucy Lawton and Margaret Daly play, respectively, Child Jane and Jane Senior. Sean Haberle is Edward Rochester.
Interestingly, a Jane Senior makes an appearance. We wonder if this is the Jane who narrates the novel, giving the first person narration body years after the main part of the story.
(In the picture, Stacia Rice (Jane Eyre), Sean Haberle (Edward Rochester) and Margaret Daly (Jane Senior) in rehearsal for Jane Eyre. Photo by Michal Daniel. Source)
Valerie Martin's Trespass, a novel that was presented on BrontëBlog a few weeks ago, is the subject of a couple of articles in The Guardian and The Scotsman that reminds us of its Wuthering Heights references:The cast also includes Jessie Austrian (Blanche Ingram/Barbara), Jennifer Blagen (Miss Scatcherd/Diana Rivers), Barbara Bryne (Mrs. Fairfax), Caroline Cooney (Leah), Laura Esping (Miss Temple/Mary Rivers), Nathaniel Fuller (Mr. Brocklehurst/Mr. Wood), Peter Christian Hansen (St. John Rivers/Surgeon), Charity Jones (Mrs. Reed/Bertha), Barbara Kingsley (Lady Ingram/Hannah), Ron Menzel (Richard Mason), Peggy O'Connell (Grace Poole), John Skelley (Davie) and Peter Thomson (Lord Ingram/Briggs).
The children's cast comprises Makenzie Allen (Georgiana Reed/School Girl), Grace Blevins (Adele), Shane Ellis (John Reed) Shelby Flannery (Helen Burns/School Girl), Alexis Gaither (Girl Pupil #1/School Girl), Hanna Kowalczyk (Orphan/Annie), Mac Rasmus (Broughton Brocklehurst), Amy Schroeder (Orphan/School Girl), Tiara Shockency (Eliza Reed/School Girl) and Caledonia Wilson (Orphan/Marjory).
"Having survived an orphan childhood made painful at the hands of an unkind aunt and a cruel school headmaster," press notes state, "a young Jane Eyre accepts the position of governess to a ward at Thornfield Hall. There, she wins the heart of her employer, Edward Rochester, a kind yet mysterious man. On their wedding day, Jane's love, strength and determination are tested as Rochester's long-kept secrets are unveiled, changing both their lives forever."
The artistic staff includes Andrew Cooke (composer), Patrick Clark (set and costume designer), Matthew Reinert (lighting designer), Scott W. Edwards (sound designer), Carla Steen (dramaturg), Lucinda Holshue (voice and dialect coach), Marcela Lorca (movement), Peter Moore (fight director), Chris A. Code (stage manager), Amy Monroe (assistant stage manager) and Suzy Messerole (assistant director). (Andresw Gans)
As for Chloe herself, she has been commissioned to illustrate a new edition of Wuthering Heights. "It was the obvious choice because it is about a foreigner [Heathcliff] who wrecks not just one but two families," says Martin. To Chloe, that was exactly what Salome was doing to her own tight-knit brood. (David Robinson in The Scotsman)The Times publishes a rather controversial article on gun control and reminds us of a time when there were no gun restrictions in England providing a Brontë example:
Charlotte Brontë recalled that her curate father fastened his watch and pocketed his pistol every morning when he got dressed[.] (Richard Munday)They were different times too...
In other celebrated Pulman adaptations, Young played Anna Scherer in War and Peace (1972) and Madame Lippevechsel in Crime and Punishment (1979), both for the BBC, and Miss Scatcherd in the 1970 film Jane Eyre. (Anthony Hayward)
"She was a small lady with a huge talent — one of a kind," said former Guthrie artistic director Joe Dowling, who directed Bryne in numerous shows at the Minneapolis theater where images of her in action are embossed on the exterior and interior of the building.Dowling first worked with Bryne at the Stratford (Ontario) Festival, created by the Guthrie's founder, Tyrone Guthrie. She played a Rude Mechanical in "A Midsummer Night's Dream," the beginning of a decadeslong partnership with the director that included "H.M.S. Pinafore," "Macbeth," "Jane Eyre," "His Girl Friday" and "Pygmalion." (Rohan Preston)
Wuthering Heights, Emily BrontëWill there ever be a novel that burns with more passionate intensity than Wuthering Heights? The forces that bring together its fierce heroine Catherine Earnshaw and cruel hero Heathcliff are violent and untameable, yet rooted in a childhood devotion to one another, when Heathcliff obeyed Cathy’s every command. It’s impossible to imagine this novel ever provoking quiet slumbers; Emily Brontë’s vision of nature blazes with poetry. (Chris Harve)Jane Eyre, Charlotte BrontëYou will need a cold, dead heart not to be moved by one of literature’s steeliest heroines. From the institutional cruelty of her boarding school, the “small, plain” Jane Eyre becomes a governess who demands a right to think and feel. Not many love stories take in a mad woman in the attic and a spot of therapeutic disfigurement, but this one somehow carries it off with mythic aplomb. (Ceri Radford )
Belton House has also been used as a location for the likes of similar period dramas like The Young Victoria, Pride and Prejudice and Jane Eyre, but can also be visited as a National Trust venue. (Morgan Cormack)
Ripon - best known for its cathedral, which has a history dating back 1350 years - is the city which inspired Charlotte Brontë to write classic Jane Eyre. (Tom Duffy)
Charlotte Brontë’s novel Jane Eyre revolutionized fiction with its coming-of-age story told from a female perspective. Tonight, PICT Classic Theatre continues its production of the 19th-century classic. The work was adapted from Brontë’s novel by PICT artistic and executive director Alan Stanford. His dramatization was originally commissioned by the Gate Theatre, in Dublin, and has also been performed at The Guthrie Theater, in Minneapolis. The show features Karen Baum in the title role, Paul Bernardo as Mr. Rochester, and James FitzGerald as Mr. Brocklehurst; Stanford directs.Harper's Magazine discusses A View of the Empire at Sunset, by Caryl Phillips:
In 1939, three years after they’d traveled together to Dominica—Rhys’s first return visit in nearly thirty years—Tilden Smith gave her a copy of Jane Eyre, which she had last read as a girl. Rhys’s ideas for a story set wholly in the West Indies began to coalesce: she soon produced half of a manuscript, provisionally titled “Le Revenant,” which he typed up from her chaotic notes. But then they had one of their periodic arguments, and to spite him Rhys burned the typescript. Like Mrs. Rochester, the urtext of Rhys’s masterpiece “perished in the flames,” in the words of its Penguin editor, Angela Smith. It’s a sad anecdote, and all the more pitiful for what it reveals of Rhys’s self-destructive masochism. It is also, as Smith intuits, an apt metaphor for the writing of this particular book, which is so intimately concerned with the space between “sanity and madness, expectation and fulfilment.” The Sargasso Sea, which lies between Europe and the West Indies, is, Smith reminds us, “difficult to navigate, like the human situations in the novel.” Or the human situations in Rhys’s own life, for that matter. (Elizabeth Lowry)New Westminster Review mentions some books 'for reads that celebrate and empower women':
Finally, some fiction titles featuring powerful and unconventional female characters include Jane Eyre by Charlotte Brontë, The Colour Purple by Alice Walker, Lucy by Jamaica Kincaid, The Bell Jar by Sylvia Plath and Homegoing by Yaa Gyasi. (Jenny Zhang)Calgary Herald interviews the actress Ma-Anne Dionisio:
“I read books like Jane Eyre and Nancy Drew but missed out on The Secret Garden,” she says. “When I was offered the role, I immediately read the novel to find out who Martha was. She is a generous, authentic person who wears her heart on her sleeve. (Louis B. Hobson)The Daily Mail does the same with Katherine Parkinson:
Recently read? Jane Eyre. I wept reading it. I reacted against my mum being an English teacher by not reading many classics, but recently I thought that’s a bit sad, and I am loving discovering them. (Charlotte Pearson Meathven)Big Stamp of Approval reviews the Sheffield performances of Northern Ballet's Jane Eyre:
There are some really touching moments in the two hour performance, evoking emotions in the viewer and almost taking your heart for a dance on stage with theirs. The unison scenes are just outstanding, so together and impeccable.Today on BBC Radio4 (April 15, 06:05AM and 11:30PM):
Hats off to Cathy Marston, choreographer, for this masterpiece. She should feel super satisfied that the portrayal of the relationships and lovers on the stage is transparent and easy to dissect.
The ballet is not one to be missed and if you can get to see it, you won’t be disappointed; if you like ballet and every second of a performance filled with perfectly executed content, this one is for you. (Sophie Wilson)
Something UnderstoodEl País (Spain) publishes the obituary of the writer Sergio Pitol:
The Teacher's Art
Something Understood
Mark Tully explores the very best of teachers - and the very worst - through fiction, philosophy and memoirs, considering the essential attributes of a great teacher and the formative influence teachers can have throughout our lives.
He talks to former teacher Kabir Shaikh, who, as Director of Education for UNRWA/UNESCO, has also been responsible for providing education for half a million Palestinian refugee children in the Middle East.
There are readings from the works of Charles Dickens, Charlotte Brontë and poet Carl Dennis, and music is provided by Carl Orff, Aaron Copland and Japanese Taiko drummer Joji Hirota.
The readers are Cyril Nri, Emma Pallant and Francis Cadder.
Presenter: Mark Tully
Producer: Frank Stirling
Sergio fue el amigo con el que conversaba noche tras noche, con quien intercambiábamos textos y chismes, criticábamos a los amigos; el amigo con quien hablaba de nuestros proyectos y viajes, de política, con el que iba a la ópera, con quien tanto viajé, con quien compartí decisivas amistades, Carlos Monsiváis, Luz del Amo, Luis Prieto, Tito Monterroso, Luis y Lya Cardoza y Aragón, Mario Bellatin, con el que veía películas clásicas que le fascinaban como Ser o no ser de Lubitsch, un amigo con quien discutía de literatura, de Emily Brontë y sus Cumbres borrascosas, quien, alguna vez me confesó, había sido fundamental para construir la estructura de sus novelas: “… en mi formación, una obra decisiva, el modelo perfecto para estructurar una novela, una escritura oblicua. Cuando la leí, me interesó extraordinariamente esa forma de construir una novela a través de un laberinto de relatos, de filtros, que le impidan al lector saber con exactitud lo que está ocurriendo… pero más, que la novela quede de tal modo abierta que un lector más o menos adiestrado pueda irla interpretando, armando, hasta crear su propia novela”. (Margo Glantz) (Translation)Zócalo (México) reviews Good Night Stories for Rebel Girls:
De Frida Kahlo a Jane Goodall (claro que se acuerdan de ella, es la investigadora de primates), de Coco Chanel a Nina Simone (buenísima cantante, ¿ya la escucharon?), de las hermanas Brontë (todas escritoras) a Marie Curie, este libro narra las extraordinarias vidas de cien mujeres valientes. Además, cuenta con las ilustraciones de sesenta artistas de todo el mundo. (Allegra Márquez Estrada) (Translation)La Nación (Argentina) misquotes Jane Eyre:
En Jane Eyre, la novela de Charlotte Brontë, la protagonista dice: "Tú no eres tus heridas". Es una frase medicinal. (Ivonne Bordelois) (Translation)Medicinal it could be (and also pinterest-like, self-help board), but not from Jane Eyre (probably from a bad Spanish translation of this):
“It is a pity to see it; and a pity to see your eyes—and the scar of fire on your forehead: and the worst of it is, one is in danger of loving you too well for all this; and making too much of you.” (Chapter XXXVII)Postimees (Estonia) and other Estonian newspapers quote Hanno Pevkur, chairman of the Estonian Reform Party quoting Charlotte Brontë:
Ka briti kirjanik ja luuletaja Charlotte Brontë on öelnud - elu on liiga lühike, et viha pidada või ülekohut meeles hoida. (Translation)Trouw (Netherlands) reviews the novel Devil's Day by Andrew Michael Hurley:
‘Duivelsdag’ is een roman zoals ze alleen in Engeland geschreven kunnen worden, hedendaags en traditioneel ineen. Je proeft er de geest van Emily Brontë’s ‘Wuthering Heights’ in, maar ook die van het werk van de onterecht vergeten John Cowper Powys: de aarde en de natuur met haar magische krachten waar de naar redelijkheid en beheersing strevende mens mee worstelt. (Rob Schouten) (Translation)Chris The Story Reading Ape's Blog interviews the writer K.D. Dowdall:
At age twelve, I discovered Jane Eyre by Charlotte Brontë and for several years, I was Jane Eyre, in my imagination. It wasn’t far from the true. My family had fallen on hard times. Experiencing poverty is something one never forgets. It would not be my life story.In the Quiet reviews Wuthering Heights.
Masterpiece just aired Jane Eyre, the 20th interpretation according to Internet Movie Database, which is perhaps more brooding in dank gothic manors than can be good for anyone. (Karen Heller)The Pioneer Press publishes a funny article commenting some of the anecdotes that happened on the Minneapolis stages in the last season. Including, the Guthrie:
We had to delay the top of the show briefly as Lucy, our young Jane Eyre, had lost a tooth! We were able to start up after we were sure she wasn't going to be bleeding from the mouth while onstage. (...)The Scotsman interviews Lucinda Bruce-Gardyne, another Brontëite:
Tiara lost a tooth just before going onstage as a schoolgirl in Act 2. That makes two kids that have each lost a tooth - certainly a record for any shows that I have worked on. (Dominic Papatola)
Lucinda Bruce-Gardyne is co-author of the award-winning Leith's Techniques Bible and author of the recently published How to Cook for Food Allergies.Children literature author Julia Donaldson is also interviewed in The Scotsman:
Who would you invite to a fantasy dinner party?
Harold McGee (author of On Food and Cooking), Mozart, Leonardo Da Vinci, Aung San Suu Kyi, Ernest Shackleton and Emily Brontë.
The fictional character whose life you'd like to lead?GaydarNation reports that in a recent Channel 4 poll, Kate Bush's Wuthering Heights appeared on the list of the UK's all-time favourite songs:
I remember as a child reading a book called The Swish Of The Curtain about a group of children who discover a little disused theatre and take it over. I really wanted to be them as a child. Or the children in Noel Streatfeild's book Ballet Shoes. I think the first couple of times I read Jane Eyre I was in love with Mr Rochester, and thought it would be wonderful to be the plain governess who wins his heart, but on the other hand it wouldn't be too much fun to find your husband had a mad wife locked in the attic.
49. Wuthering Heights - Kate BushNow for some blogs:
Unless explicitly said
