The music isn't simply accompanying Jane Eyre. It is helping tell Jane's story.

Fan Carpet discusses how Paul Gordon's score reimagines Jane Eyre in the current London production of Jane Eyre. The Musical:

One of the biggest challenges in adapting Jane Eyre is that the novel is deeply personal.

Written in the first person, readers experience the world through Jane's thoughts, feelings and reflections.

On stage, those internal monologues cannot simply be narrated.

Instead, they must become performance.

As John Caird explained during the media day, the production solves this by allowing the ensemble to share Jane's narrative voice, preserving the intimacy of Charlotte Brontë's writing while embracing the possibilities of live theatre.

Music becomes another extension of that voice.

Rather than interrupting the story, the songs continue it. (...)

The score also reflects another defining feature of the production.

Rather than functioning as individual showpieces, the musical numbers become part of the ensemble's collective storytelling.

Co-director Megan McGinnis explained that casting focused not only on vocal ability but also on finding exceptional storytellers capable of serving the narrative together.

That collaborative approach was evident throughout the rehearsal room, where every performer contributed to Jane's journey rather than simply stepping forward for individual moments. (...)

Following our rehearsal room visit, one thing became abundantly clear: the music isn't simply accompanying Jane Eyre.

It is helping tell Jane's story.

Having now experienced the completed production, it is fascinating to reflect on how those early rehearsal excerpts formed part of a much larger emotional journey, demonstrating once again why Jane Eyre continues to inspire artists almost 180 years after Charlotte Brontë first introduced readers to one of literature's most remarkable heroines.

And we have some new reviews:

London Theater Reviews (4 and 1/2 stars out of 5):

It feels like one of the closest adaptations to the original novel, encompassing the major themes of love, loss, abandonment, independence and belonging, while also displaying its greatest scenes. Could some have been developed further? Yes, but on the whole, this adaptation by John Caird and Paul Gordon was on point - the mix between music, narrative, stage presence and performance was exceptional. (...)

The music is another huge strength in this adaptation. The songs fit naturally into the storytelling and are beautifully performed, allowing some of Jane's thoughts and emotions to be expressed in a way that are in keeping with the original character. (...)

There is also some intimacy with being at the Southwark Playhouse Elephant because it's small and therefore you feel so much closer to the actors on stage, it makes the energy of the performers feel more intense.

For those who already love Jane Eyre, there is plenty here that will feel familiar. For those coming to the story for the first time, this musical provides an accessible introduction into Jane's world. It's a fantastic adaptation that should definitely not be missed. (Junita Aswal)

Theatre and Tonic (4 stars out of 5):

Upon entering the theatre, the most striking feature is the enormous, thorn-like vine curling around the edge of the stage (Morgan Large). It evokes Rochester’s confinement and the cage-like world surrounding him. Above the stage, a line is carved into the stone: “I am no bird, and no net ensnares me, I am a free human being with an independent will.” This, too, is taken from Jane’s words shortly before she leaves Rochester. Like the earlier quotation, it immediately conveys Jane’s resilience and strength of character. At the same time, it reminds us that everything taking place on stage is a reflection of the book rather than a reality unto itself. Indeed, in this production, every actor seems to function almost like a piece of the text that makes up the novel. (...)

The songs are one of the production’s greatest strengths. I particularly enjoyed the conversational quality of the writing and the delicacy with which it handles emotion. Among the many lyrical and beautiful melodies, Painting Her Portrait and My Hope of Heaven stood out to me. The former captures Jane’s insecurity, her harshness towards herself, and her pain with remarkable clarity. The latter expresses Rochester’s passionate, turbulent, forceful, and at times tender love in remarkably simple and direct language. (...)

Overall, it is a genuine pleasure to see the story of Jane Eyre brought to the London musical stage. Although it is a story born nearly two centuries ago, its emotions and struggles still feel remarkably close to our own, reflected in Rochester, whose heart is caught in the vines, and Jane, who reaches towards freedom. While the production has not yet quite reached its full potential, the delicate emotional world of the original novel is already there within it. With only a few light touches, these words from the page could become much more vivid and alive on stage. (Ziwen)

 A Youngish Perspective (3 and 1/2 stars out of 5):

The show's Jane (Charlie Burn) and Mr Rochester (Ashley Gilmour) give it their all and the pair sparkle as they duet, “Secret Soul” being their standout song. Neither can be described as plain despite all around them claim- the audience’s chuckles confirming this. Gilmour’s Rochester is rakish and playful, making it easy for Burn’s elegantly innocent Jane to fall. Although her character comes to resemble a watered-down Belle of Beauty and the Beast– no fault of Burn’s as all she is given to do is sing pining ballads. When flashes of Jane’s anger and insecurity break through in “Painting Her Portrait” she is electric in her range and colour. It’s a Jane I wish we got to see more of. (...)

A stylish and charming show full of music, Jane Eyre would be better served by trimming its blur of Act 1 songs to allow more direct conversation between its characters. Jane sings of hunger for knowledge and independence in “Sweet Liberty” only for this interest to rarely emerge again And Burn and Gilmour barely let the sexual tension simmer before off singing their attractions. 

Another review comes from British Theatre Guide:

Charlie Burn leads the company as Jane, bringing warmth and emotional depth to one of literature’s most beloved heroines. Ashley Gilmour plays Rochester, and the pair share an engaging chemistry, particularly during their sweeping and heartfelt musical moments. Emily-Rose Samuel also impresses as the young Jane, capturing the character’s determination and spirit.

Gemma Page showcases the prowess of a seasoned actress switching between the contrasting roles of Mrs Reed and Mrs Fairfax. She brings a grounded and assured presence to both. Morgan Large’s striking monochrome costumes, complete with corsets, ruffles and delicate detailing, create a beautiful visual world, while projections of misty moors, graves and barren trees provide the perfect gothic backdrop.

With its excellent cast, outstanding vocals, atmospheric design and timeless romance, Jane Eyre the Musical offers London audiences a passionate and engaging journey into Charlotte Brontë’s unforgettable world. (Zia Trench)

The show is also recommended by Yahoo! Creators:

London theatre does not have to mean booking the biggest production in the West End. Southwark Playhouse Elephant offers a more intimate alternative, and Jane Eyre is an especially appropriate choice for a girls' weekend. The five-time Tony-nominated musical adaptation of Charlotte Brontë's classic makes its UK premiere here, recasting Jane's story of independence, ambition, mystery and passionate love for a contemporary stage. (Olivia Liveng)

Criminal Element lists novels where characters "try to outrun their past":

Jane Eyre by Charlotte Brontë

Jane Eyre might have been published 180 years ago, but it’s still relevant today, telling the story of a woman reinventing her life by falling in love with a man who thinks he can reinvent his life by simply ignoring his past—or, more accurately, locking it away. No spoilers (again, the book is 180 years old, what are you waiting for!), but you might want to check the attic before you crack this open late at night. (Carly Hillman)

India Currents quotes from Midnight's Daughter. A Memoir by Sarita Sarvate:

Meeting Stuart, the Yorkshireman, who becomes the love of the narrator’s life, she writes:

Is it then that I sense in him Mr. Rochester, the love object of Jane Eyre, and the ultimate hero of the English novel?

She expands the reference to include Stuart’s Polish ex-wife Olga: 

When I first met Stuart, Olga had been but a shadowy figure, the ex-wife to thicken the plot of my novel. In Jane Eyre, the governess is vaguely aware of the shadowy presence of Mr. Rochester’s first wife, Bertha Mason, who lives hidden in the attic. (Roopa Ramamoorthi)

Image (Ireland) interviews the author Kevin McManus:

Sarah Gill: What are your top three favourite books of all time, and why?

Kevin McManus: It’s difficult to limit it to three. Wuthering Heights by Emily Brontë has stayed with me for its emotional intensity and unforgettable sense of place. Post Office by Charles Bukowski showed me that literature could be funny, raw and deeply human without being polished or sentimental. Plainsong by Kent Haruf is a novel I return to again and again for the quiet compassion with which it portrays ordinary people finding dignity, community and hope.

Social Samosa interviews Shreya Sachdev, Head of Marketing at PUMA India:

Siddhesh Shirsat: Which book, film, song or piece of art has stayed with you over the years?
Shreya Sachdev: Jane Eyre, when I need inspiration to remain enterprising; any Agatha Christie novel, when I want to be transported back to childhood afternoons reading with my mother.

Vogue video interviews tennis player Alexandra Eala:

[Interviewer] What are you reading right now?

Wuthering Heights.

Nancy Mugele in The Chestertown Spy describes what she learnt from Jane Eyre: 

True self-worth and lasting peace come from honoring your moral integrity and self-respect, even when tempted to compromise them for love or security.

The Guardian ranks the best songs of Céline Dion:

1. It’s All Coming Back to Me Now (1996)

Writer Jim Steinman claimed It’s All Coming Back to Me Now was inspired by the scene in Wuthering Heights when Heathcliff exhumes Cathy’s corpse and dances with it on a beach. No such scene exists, but that’s Steinman for you. His songs are so wilfully overblown that they require a singer with total emotional commitment to pull them off without sounding silly – and Dion perfectly fit the bill after a version by the girl band Pandora’s Box flopped. She sings it as if it’s a matter of life and death, her voice supremely powerful and emotive even amid Steinman’s characteristic Wagnerian bombast. The end result is a mad, spectacular triumph. (Alexis Petridis)

The Lancaster Guardian has an article on the upcoming performances of the Conn Artists Theatre Company's new touring Jane Eyre adaptation at Lancaster Grand Theatre on Tuesday, September 22. Both The Yorkshire Post and the BBC discuss the Yorkshire tourist tax project and the possible consequences of its implementation.