Mayflower Theatre, Southampton – until Saturday 13 May 2017. Review by Karen Millington Burnet
Well, we were bamboozled this evening attending Jane Eyre at the Mayflower, Southampton; it started at 7.00 and we had 7.30pm in our heads – but then, it is a three hour performance! I only mention this because, having arrived five minutes late, the Mayflower staff could not have been more accommodating and found us great seats at the back until we could take up our reserved places. In fact, the seats at the very back of the stalls were a revelation, giving us as good a view and appreciation of the performance as if we had been at the front; top marks to the Mayflower!
As for the performance, what a dark, depressing and tragic love story – the cast did credit to Charlotte Bronte’s tale. I didn’t know the plot and my wife, who is far more educated as to the story, was able to explain to me the nuances and depths which, once I understood, was able to spot in this very impressive production; full of emotion and grim imagery. Much needed light relief was delivered by Paul Mundell’s Pilot, the dog…with his waggy tail, who raised my spirits in between the powerfully draining performance of Nadia Clifford’s Jane Eyre – truly the Man of the Match, delivering a character from ten years old to the emotionally mature Jane of the final Act (Nadia Clifford gets extra plaudits for soldiering on after sustaining what looked like a sprained ankle half way through the first half causing a fifteen minute pause in the whole performance). She drew me completely into her character and the drama between herself and Tim Delap’s Rochester and I was transfixed as the plot unfolded. Initially I had high hopes for Tim Delap, but I felt his performance became eclipsed by Nadia and even by some of the more minor characters. This is not to detract from him but to recognise a generally strong team of players. My wife was particularly taken with Melanie Marshall’s Bertha Mason who loved her voice and the expression she brought to the story.
Strawberries to the Movements Director – Dan Canham – who created some very evocative choreography to bring to life episodes in the story including stage coach journeys and riding scenes. For once the lighting team “got it” and we really enjoyed the effects of creating spaces, movement, fire and mood changes which the team evoked. We enjoyed the novelty of the band on stage and their ability to both accompany and play a role in the performance was a great addition to the cast and to the visual performance – as well, of course, the music. We were divided on the scenery: the cast moved over, through and around it with agility and were obviously very well drilled, however, it was quite a contemporary set which might not please everyone. The costumes matched the mood well and the Costume Supervisor Jennie Falconer gets top marks for delivering a slick, on-stage change routine.
In the end, we left the theatre quite drained with the emotion of it all; a great cast delivered a dark and powerful tale with intensity and passion. This is no uplifting love story and despite the suggestion of a happy ending, we drove home under a full moon rather than riding off into the sunset.