Jane Eyre

Shake & Stir would have to be the most adventurous independent theatre company in Australia. Time and time again they put a contemporary spin on time-honoured stories (Dracula, Wuthering Heights) which finds them consistently delivering high-quality drama. Jane Eyre is no exception.

Josh McIntosh’s multi-level set with moody and evocative lighting by Jason Glenwright immediately tells us we’re in the moors, it’s cold and damp, and that life is harsh. As the gothic story of the nineteenth-century female orphan unfolds, we are drawn into her life and her love for the ‘Byronic’ hero Edward Fairfax Rochester.

Re-conceived for the #metoo era, it’s an exciting piece of drama with a haunting musical score, imaginatively staged by director Michael Futcher. And that’s what sets it apart, the staging and the blistering vocals by Sarah McLeod and the piano underscore. The former lead singer/guitarist of The Superjesus is a powerhouse and more than earns her onstage stripes with her searing performances in various roles but especially as the violent Bertha.

As the protagonist, Nelle Lee brings spunk and fierce determination to Jane as she fights for her place in an unjust society, whilst Helen Howard was by turns cruel (Mrs Reed), warm and motherly (Mrs Fairfax) and coquettish (Blanch Ingram), in a series of excellent vingettes. Anthony Standish also excelled in multiple roles as the evil Mr Brocklehurst, the severe St. John, and the infamous Rochester, whose secret unravels with devastating effect.

Midway through the first act we encounter a burning room, which is a dynamic piece of staging, but it’s only a precursor for the finale when the whole set of the manor is on fire in a brilliant coupe de theatre.

With memorable performances, spectacular staging, and a classic story that’s had an invigorating new coat of paint, there’s no doubt it’s another Shake & Stir production destined for hit status!

Peter Pinne

Photographer: David Fell