JANE EYRE. Two-act adaptation of Charlotte Bronte’s novel by director Alastair Duff. Producer Daniel Enticott. Props and costumes Nicky Enticott. Cape Town Gilbert and Sullivan Society. Presented by Constantiaberg Theatre Players. At The Masque Theatre until 8 July. SHEILA CHISHOLM reviews
Adapting a novel, as complex as Charlotte Bronte’s Jane Eyre, takes a gifted, intelligent mind. A mind Alistair Duff has. Also, with his knowledge of theatre he successfully turned this historically significant book into a believable and understandable play. And, as Duff successfully “picked” out important events and characters, even those unacquainted with the story, will easily follow his version.
Played out over two acts, 11 scenes, by Duff dividing the stage into various levels and sections, meant minimal time was wasted moving furniture and props between scenes. Yet it gave each episode its own special place.
Two narrators
Scene 1 begins with Charlotte Bronte (Annali Boshoff) sitting at her desk – set off stage on audience left. From there, in North Country accent, Charlotte narrates her writings. Then they are acted out on stage. We see how badly treated Young Orphan Jane is (Kiera-Lee Hayes), by her toadying cousin John (Christopher Munnik), and his contemptible mother Aunt Reed (Kerryn Warren). We watch in distress as Jane is marched her off to Lowood School where, but for her friendship with Helen Burns (Katie Hayes), her abuse at Mr Brockelhurst’s hands (John McConnell) would have been intolerable.
But the “growing up” Jane (Jaime Uranovsky), made from “stern stuff,” survives to become governess to mischievous Adele Verans (Kelsey Brookes) – ward of Mr Edward Rochester (Robert Shenton). And so, with a tragic interlude, Jane and Edward’s love story unfolds. Duff uses both Charlotte and Jane as narrative links. At first this confused. Why two narrators? But it worked, as between them they filled in time gaps as well as taking the audience through Jane’s thoughts and feelings.
As a role Jane demands an actress able to portray a broad spectrum of emotions. Uranovsky filled that role admirably, developing from insecurity to a strong mature woman in love with Edward. Shenton as Edward made a good attempt as a forbidding Rochester. But while Uranovsky shone love, his passion for her only became evident when she returned to him after the fire – a very moving scene.
Unfortunately it is not possible to mention each and everyone of the 21 cast. However, what can be said, is they all pulled their weight, were word perfect and tried to capture 19th century period style of behaviour.
What disappointed were drab costumes, poor wigs, missed lighting cues, dull sets and lack of detail in props – such as badly arranged flowers and candles not upright in candlesticks.
None-the-less Duff’s Jane Eyre direction is gripping and satisfying. Do go.
What: Jane Eyre
Where: The Masque Theatre, Cape Town
When: Until 8 July, 2017
Presented by: Constantiaberg Theatre Players
Book: bookings@masquetheatre.coza or 021 788 1898 o/h
WS
