Photo: Johan Persson
Jane Eyre has always been on my to-read list but quite honestly, it has always seemed just out of reach. Like many of the classics, its prestige is intimidating and whether its 19th century-isms hold up across time, was a question I wasn’t sure that I wanted the answer to. However, this riveting production breaks down all temporal barriers and imbues a timelessness, reconciling visions of hope and resilience. Charlotte Bronte’s magnum opus is colourised beautifully in Lily Dyble’s production.
The gripping story explores a young woman’s tumultuous life, hardship cascading from her neglected childhood to her adult life as a love-torn governess. Its striking representations of endurance is vulnerable in all the right places. Anna Yates’ set design in conjunction with Joseff Harris’ cinematic score retains a freshness that injects the play with vitality.
The romantic energy between Edward Rochester (Gabriel Akuwudke) and Jane (Olivia Marcus) is gradual and enticing. Rough around the edges and dangerously charismatic, Akuwudke perfectly compliments Olivia Marcus’ resilient and cautious Jane. Marcus’ performance illuminates an astounding symphony of sensitivity and grit.
A challenging aspect of adapting Jane Eyre arises when trying to visualise the transitions between each stage of her life. Yates’ set design takes an ambitious risk that prevents any moment of disjointedness. Coordinated by Natasha Harrison, the cast performs across a platformed staircase which is manoeuvred swiftly and effectively.
Climbing across the steps imbues a wonderful physicality, making emotional struggles appear even more exhausting and injecting moments of happiness with a satisfying sense of triumph. The ensemble embraces this challenge with Andrea Gatchalian in particular, shining through in her transition from the forlorn schoolgirl Helen to the endearingly mischievous and energetic Adele.
Movable speakers are illuminated strategically, evoking the stifling stress Jane endures. The ‘Red Room’, a means of punishment subjected to Jane by her cruel aunt is constructed by an encirclement of speakers, lit up in a crimson red. Claustrophobic and tense, Jane’s anxieties, as signalled by the speakers, are communicated rawly.
When Jane is boarded off to the dreaded Lowood Institution, the speakers reconfigure to act as desks and hiding spaces for the school’s fearful students. It was beyond impressive to watch the seamless transitioning between each age and location.
The novel’s themes of colonialism are interpreted more refreshingly in this adaptation, handled with a lot of purposefulness. Edward Rochester’s voyage to colonial territories are not censored but takes a backseat in the story. This exploration of the novel’s more controversial imagery extends to the presentation of Bertha. Strong parallels are drawn between her captivity and Jane’s freedom while the staging communicates Bertha (Robyn Rose Li) as omnipresent figure.
The compassionate treatment of Li’s Bertha emerges in the most resounding scene where her reveal is equally as staggering as her voice. In the spirit of ‘less is more’, I think this scene is best watched and not read about.
With a continuously reconfiguring set and a stellar cast, Jane Eyre is a dazzling exploration of forgiveness and resilience.
Reviewer: Naina Sidhu
Reviewed: 14th October 2026
North West End UK Rating:
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