Economies of Success
4/5
Spoilers
I genuinely thought I was going to see Emma on Saturday. I knew we had tickets to some form of Regency-esque romcom, but, in all honesty, the names had blurred together. In my phone's calendar, pointing out my philestinical nature, I had saved 'Emma' as the production that was to break my long theatrical fast. As the title of this blog suggests, that was 100% not the case.
Part of this problem comes from the fact that, unlike my favourite Regency novel, Pride and Prejudice, I have not actually read either Jane Eyre or Emma, nor have much desire too. I have only encountered them through movies and, although they are quite different, they ultimately fill a very similar space. I mean, they're not as dissimilar to each as they are to their contemporaries Frankenstein or The Vampyre. But I should have really known better.
Jane Eyre was being produced as part of The Blue Orange Theatre's Birmingham Fest. This itself is a big welcome back to local professional theatre, signalling the end of the restrictions Covid-19 has placed on the Entertainment Industry and celebrating live theatre once more. As mentioned above, this play was my first return to those most hallowed stalls since I saw Phantom of the Opera in February 2020 in London. The Blue Orange can be a strange theatre, trying to achieve the vibes of 'indy-theatre' with varying successes, but today it had hit on a winner.
This version had been adapted from the novel by Mark Webster. It did away with the childhood scenes, often commented on as being 'the boring bit' in the book, and cut straight to the heroine's arrival at Thornfield Hall, her meeting with the anti-hero (or possibly just downright villain) Mr. Rochester, and the wacky cross-class, secret wife in the attic, love story we all wanted to see. It's a pacey work, rattling along to bring the show in at 50 minutes, and this, in many ways, was one of its strengths. There is little space for the action to get mired in wallowing and self-doubt, and instead springs along, transforming the story into more of a romantic thriller.
Director Ellie Goodall's staging is genuinely excellent. Based on a minimalist set, the characters finding a variety of uses for four crates, the small cast conjure up a continual flow of settings with ease, transporting you from Thornfield, to Gateshead, to Paris in a blink of an eye. As is often the case, staging that relies on storytelling to create the scene is more involving for the audience than lumbering around with scenery and set. The focus is thus allowed to be on the story rather than just showing off some clever bits of painting. Surely, that is more important to a narrative driven play?
When we first sat, we were initially concerned by the very creepy large doll placed in the middle of stage. With a blank face and overtly sweet pink dress, I had been worried by the prospect that an Annabelle influence would prevail. In fact, the ward of Mr. Rochester, Adèle Varens, was portrayed by the narrator carrying the doll as a puppet. This was, in fact, strangely convincing, even with the actor simply speaking in his normal voice. Adèle is somewhat an outlier to the character arcs, almost a prop of a plot device, so her treatment as a puppet feels apt.
The narrator himself worked well in communicating much of the action, keeping the pace moving with continual exposition. A smart touch was handing him a book, communicating his role, and meaning said role could be passed on when the actor was needed to play St. John. The actor playing this part, James Nicholas, was quite engaging and drew you along with him. He was equally strong as the narrator, Adèle, or St. John. Kimberley Bradshaw as Jane was a quality lead too, never overshadowed by the competing voices or her cast mates, and often a firm anchor in a see of quick character changes.
It has been a long dry 18 months being deprived of theatrical experiences. More importantly, though, the professionals who make the theatre happen have been kept from making a living. It was great to be back but it is definitely vital for these people making a living from their art. I enjoyed my return and was glad to see a good audience turn out at a such a small theatre. As restrictions lift, and as you feel comfortable, make sure you book in to see a play, a show, or any stage work. The theatre's back and it needs your support!
Jane Eyre
2021, The Blue Orange Theatre, Birmingham
Director: Ellie Goodall
Writer: Mark Webster, based on Jane Eyre by Charlotte Brontë
Cast: Kimberley Bradshaw, Richard Buck, James Nicholas, & Kaz Luckins
This current run has ended but it can be seen at the Ventor Festival, Isle of Wight, 23rd July - 1st August & The Edinburgh Festival Fringe 6th - 14th August
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