'What we forget is that this novel was revolutionary'

The Herald features Jennifer Dick who will be directing a stage production of Jane Eyre as part of Bard in the Botanics in Glasgow. Jane Eyre runs June 19 – July 6.

This year, Dick will be taking on Shakespeare once again with her production of Measure for Measure. But she’s also set to bring Jane Eyre to the stage, Charlotte Brontë’s 18th century [sic] classic tale of a young woman’s journey through life and love.

And why wouldn’t a director/writer not look to present Jane to the modern world? Eyre, at the time, was viewed as a dangerous feminist manifesto with sexually delinquent undertones. And it stuck hat pins in the giant bum that was the class system.

“I’ve always loved the story since my step-mum introduced me to it when I was a teenager. I think I was attracted to the romantic side of it (Jane falls for Rochester early on but her intentions are deliciously thwarted.) But then I grew to really love Jane. She’s so passionate, she’s independent, unwilling to make concessions to others, and so secure in who she is as a person, but not in a selfish way.” [...]

In the novel, Jane Eyre speaks in the first person, which lends itself perfectly to theatrical adaptation. “It’s a psychological narrative from a heroine’s perspective,” says the director. “You go on the journey with her. This (style of writing) had never been done before and what we forget is that this novel was revolutionary.”

Brontë’s tale has echoes of society today. “There was real poverty, an elite under threat and people agitating for change. I’m sure people who watch this play will see a relevance in their own lives.”

Yes, there morality issues featured, there is a clever trashing of the world in which Jane occupies, but Jennifer Dick reminds there are also laughs in the piece. “The story when presented on stage this time around will be less Gothic,” she explains, although it doesn’t slide into pastiche. Yet, we look at how both Jane and Rochester feel great joy. And one of the themes in the novel asks, ‘What do you do to find happiness?’ which we hope the audience will find themselves asking.”

Where does Jennifer Dick find great happiness? “Doing this job makes me very happy,” she says, not at all surprisingly. “And I never laugh as much as I do in a rehearsal room.”

She grins. “Even when you cover serious moments, sometimes hysterical moments can emerge. And I never let the chance for laughs to emerge to go by me.” (Brian Beacom)

A contributor to The Collector discusses 'the Role of the Changeling in Western Literature'.

Gothic Romance: Wuthering Heights, Emily Brontë (1847)

Emily Brontë ‘evil’. Cathy’s first, ghostly appearance is striking. She is described as ‘That minx, Catherine Linton… she must have been a changeling – wicked little soul!’ We see here an early example of the uncanny, changeling child familiar to modern horror fans.

Additionally, Brontë introduces the child Heathcliff as ‘a dirty, ragged, black-haired child…repeated over and over again some gibberish.’ Heathcliff is established as a changeling: almost one of the children… but not quite. Furthermore his ‘gibberish’ language reminds the reader of earlier examples of riddling fairy changelings in common folklore and therefore a character not to be trusted. The real source of disharmony, however, is his assumption of another child’s place. The name Heathcliff previously belonging to one who died in infancy. (Lauren Jones)