The Austin Chronicle reviews
Austin Shakespeare's Jane Eyre.Austin Shakespeare’s borrowed production uses those myriad methods to get at the beating emotional core of Jane’s soul. Those familiar with the National Theatre, either through lucky British visits or through their “At Home” screening service, know its reputation for creative sets and unique storytelling. Under artistic director Ann Ciccolella, Austin Shakespeare has expertly crafted a similarly thrilling theatrical experience. Scenic designer Evonne Paik Griffin faithfully re-created the National Theatre’s staging, sparse ramps and platforms against a bare screen, delicately lit with the occasional projection from resident lighting director Patrick W. Anthony.
The tallest platform structure hides an array of musical instruments, where many actors retreat if they aren’t needed for the main story. The play is essentially live-scored by those actor/musicians playing guitar or bass or even violin accompaniments. It adds emotional heft to scenes, dishing up musical undercurrents of threat, sorrow, or joy as the mood sees fit. There are a few sung portions as well. Many of these come courtesy of Chelsea Manasseri, who plays a tenderly sympathetic Bertha (and a cruel Aunt Reed) when not enhancing the atmosphere with her rich alto.
In addition to working as a literal merry band of players, the ensemble (with the exception of Taylor Flanagan’s Jane) works in multiple roles throughout the play. Tim Blackwood is Mr. Rochester, but also a cowering schoolgirl during early Lowood Institution scenes. Cassie Martin is Jane’s housemaid and first semi-ally Bessie, but also her beloved but doomed school friend Helen Burns. Memorably, A.Y. Oza works as the fire-and-brimstone, blustering Lowood headmaster Mr. Brocklehurst, then spends the latter half of the production with astounding athleticism on all fours as Rochester’s playful dog Pilot.
But much of Brontë’s text focuses on Jane’s interior life. It’s where many productions err. Since they can’t capture Jane’s fierce inner desires formed by her experiences, many default to the romance as focus. But this production places Jane’s independence and obstinate strength over any pious governessing. Part of that is the sheer pluck of Flanagan’s performance, which never veers into romantic cliches. Instead, any melodrama has a backbone of solid steel. But much of it is yet another ingenious use of the ensemble as a Greek chorus illuminating Jane’s innermost thoughts and struggles. Cast members often surround Jane to converse, to question, to torture. There are group chants and movements, an effective use of every single performer helping convey Jane’s feelings.
The result is imminently powerful. The clever staging and presentation keeps this story from veering into sanctimonious sermon, or maudlin, self-important romance. Jane is never boring. She’s a woman who admits to being desperate for affection, finding her own strength. Brontë’s Jane Eyre is a tale of discovering and maintaining inner worth. And Austin Shakespeare’s production illustrates Jane’s quest for a life of liberty and yes, some love, with grace. (Cat McCarey)
In an interview for
La Vanguardia (Spain), actress Ariadna Gil and theatre director Carme Portaceli mention their former collaboration in a stage adaptation of
Jane Eyre.
Portaceli le ha dado dos grandes personajes.
A.G:: Y me acompañarán toda la vida. Una hace muchos trabajos, pero pocas veces tiene la oportunidad de hacer algo que te cambie profundamente. Jane Eyre y Anna Karénina son dos personajes muy distintos, con temperaturas muy diferentes, pero que a mí me han conmovido de una forma brutal.
¿En qué sentido?
A.G.: Jane Eyre es el personaje más importante que nunca nadie en teatro me había ofrecido, y para mí fue un reto tener que tirar de la función, aunque estaba muy bien acompañada.
(Magí Camps) (Translation)
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