REVIEW: Jane Eyre, Mayflower Theatre

By Hilary Porter

It is 170 years since Charlotte Bronte's classic masterpiece was first published but there is nothing dusty or old about this stunning production by the National Theatre.

Director Sally Cookson has struck just the right balance in keeping the original plot and characterisations in tact whilst adding a timeless appeal and many modern devices to this brave new retelling of a literary classic.

The most striking of these is Michael Vale's set design. It basically resembles a children's climbing frame with wooden platforms and ladders, a backdrop of white drapes and floating window frames (carried by cast) to suggest claustrophobic buildings and institutions as Lowood becomes Thornfield Hall.

The constant movement and exertion of the cast serves to portray the passing of time and the physical movements of the central characters amplifies the emotions they feel.

Lighting is powerful too- not least when scarlet lighting creates the terrifying Red Room where orphan Jane was locked and mistreated as a child.

Despite the timeless set, the cast wore period costume - all apart from vocalist Hannah Bristow, dressed in a glamorous red gown whose songs Mad About the Boy and Crazy mirror the love story unfolding on stage between our heroine and Rochester and ironically serve as a reminder that she is 'the mad woman in the attic' who Rochester cannot conceal.

Nadia Clifford's portrayal of Jane was spell-binding. Never off the stage, her energy and the emotion she brings to the part is astounding. All her costume changes take place before us with costumes arriving on coat hangers hung from the ceiling and placed on her by the cast like symbols of her social status.

Tim Delap is a wonderful Rochester, capturing the complexity of his moody and brooding character.

And special mention should go to Paul Mundell whose portrayal of faithful dog Pilot is a joy and adds invaluable humour to the gloom.

But it was a great team effort by all who worked incredibly hard to cover multiple roles and there was an excellent bunch of musicians on stage too adding the exceptional sounds and dramatic impact.

Were Charlotte Bronte alive today she would have been impressed I'm sure. The production opens with the cast declaring "It's a girl" - and the play ends with these words too, almost like a feminist proclamation of female power over adversity, whilst also announcing the inevitable circle of life.