The essence of Jane Eyre

The Age reviews the performances of Jane Eyre at La Mama Courthouse in Carlton (Australia):

Dramatic Jane Eyre needs a little more conversation, a little more action (...)

“Show don’t tell” is a simple mantra, but this production does too much telling and not enough showing, although the scenes that convert Brontë’s prose to dialogue instead of narration are more engaging. This unimaginative production, with its multiple entrances and exits, frequent moving of chairs, and long, onstage costume changes, cries out for inspiring physicalisation. (...)

This production fiercely underlines Jane’s quest for independence but fails to tap the passion that is the essence of Jane Eyre – the woman and the story. Ultimately, it does not illuminate the text, penetrate characters, transform the stage with theatrical technique or transport its audience to another place or time. (Kate Herbert)

Washington University in St.Louis's The Ampersand presents the book Jane Eyre in German Lands: The Import of Romance, 1848-1918 by Lynne Tatlock:

Jane Eyre caught Tatlock’s attention when she was researching her earlier book about German literature in the English-speaking world, German Writing, American Reading: Women and the Import of Fiction, 1866-1917. She discovered that American readers of E. Marlitt in English translation were also reading Jane Eyre and wondered how Brontë's novel had fared with German readers in German translation on the other side of the Atlantic. A prolific author of popular romance novels in Germany, Marlitt stood out because so many of her novels seemed to be imitations of Jane Eyre. While Marlitt did not reproduce the plots of Brontë’s novel directly, her own novels display a deep understanding of the dynamics of Jane Eyre, such as the relationship of the heroine to the male protagonist. (...)

Tatlock says that Jane Eyre’s enduring popularity in Germany was symptomatic of a moment when German women were increasingly negotiating public life through literature, mirroring the novel’s own interest in navigating conflict through language. Though men and women read both read Marlitt widely at first, women increasingly formed her readership as the nineteenth century came to a close. (John Moore)

Third Coast Review talks about some Chicago performances of Tennessee Williams' Summer and Smoke:

In turn, he is appalled at the mental illness of Mrs. Winemiller (Debra Rodkin) who has no filters and is prone to shouting embarrassing phrases, shoplifting, and brazenly licking an ice cream cone in public. Rodkin brilliantly pulls off the erratic behavior that put the first Mrs. Rochester in the attic in Jane Eyre. (Kathy D. Hey)

The use of pseudonyms in the Deccan Herald (India) and Daily JSTOR:

In 1846, a book of poetry rather blandly titled ‘Poems by Currer, Ellis and Acton Bell’ was published. Initially, it sold a mere two copies. And hence no one likely wondered who the Bell brothers were. Some years later, the identity of the Bell brothers was revealed. As it turned out, the three poets were the sisters ­— Charlotte, Emily and Anne Bronte! This was the first book by the sisters that actually made it to print and is hence significant. (Karthik Venkatesh)

Famously, sisters Charlotte, Emily, and Anne Brontë did exactly this, taking on the masculine pseudonyms Currer, Ellis, and Action Bell when they first published their poems and novels. (Emily Zarevich)

The Herald reviews the pantomime Goldilocks goes to Greece:

And in what other world will you get the chance to see Goldilocks perform an absolutely wonderful Kate Bush parody, complete with hand held kitchen fan blowing her bridal veil to give the full Wuthering Heights effect? (Bryan Beacon)

sunlit_music reviews  What Souls Are Made Of: A Wuthering Heights Remix, by Tasha Suri.