JANE EYRE

Arcola Theatre

★★★★★

“at once powerful and raw while remaining refined and focused”

Green Opera’s production of John Joubert’s Jane Eyre turns the best parts of opera into a phenomenal work of art. I strongly encourage anyone who “doesn’t like opera” to try it – productions like this will make you think again!

An abridged adaptation of Charlotte Brontë’s original story, the audience sees a mysterious woman in white engrossed in a blood red tapestry with branches, keys, books and other plot references suspended above us. As the lights go down, the woman suddenly flits between these objects, foreshadowing what is about to unfold. Then in darkness, tongues of flame illuminate the full cast before the lights come up on the end of Jane’s time at Lowood School. She is considering leaving to become Rochester’s governess at Thornfield Hall and a fierce argument ensues with Brocklehurst, the school’s supervisor, before she frees herself of his cruelty. Times skips forward to Thornfield Hall as Jane rescues Rochester from incendiary catastrophe. It’s clear the two already share feelings for each other and by the close of Act 1 they are planning their future together. However, the course of love never did run smooth, and a shocking revelation forces Jane to flee Thornfield Hall until love finally calls again.

Joubert’s complex score creates a rich and varied soundscape, heightening the emotional rollercoaster we find ourselves on. From clashy, postmodernist discordance, to sublime, soaring harmonies, it perfectly punctuates each scene and drives the plot forward in its own right. The complexity may not be the easiest on the ear for the musically uninitiated; but you don’t need technical knowledge to appreciate musical director and conductor Kenneth Woods’ accomplished interpretation of the conflict and harmony this powerful composition conveys.

Kenneth Birkin’s English libretto is refreshingly selective in its use of source text, emphasising the moments of emotional intensity and skipping over the rest. This creates an emotionally charged experience, elevating key scenes without seeming self-indulgent. In fact, the libretto is surprisingly clear, avoiding too much repetition (an opera bugbear of mine), and holding your attention even if you are familiar with the text. Though anyone unfamiliar with the story would benefit from doing some pre-reading to fill in the gaps.

Another opera bugbear of mine can be the lack of dramatic immersion, especially in more static productions when you’re up in the gods (sadly the only seats I can afford). Producing this in the Arcola Theatre is a revelation, as the intimate space draws us into the cast’s full spectrum of emotions without having to take out a loan. Eleanor Burke’s direction immerses us further, extracting powerful performances and cleverly using space, levels, movement and visually striking symbolism. Though my favourite part is the use of the woman in white and her tapestry. The reason Jane flees Thornfield probably isn’t a surprise and the reveal risks becoming hackneyed; instead Burke uses that prior knowledge to manipulate the narrative, creating tension by foreshadowing events through her. Movement designer Alex Gotch also makes her presence ghostly in new ways, such as her unnatural actions and voiceless breathing.

Emeline Beroud’s set design is a stroke of genius. We open with key plot references lifted from the page and into the air in fragments. There is enough to keep the narrative grounded but their involvement remains delightfully abstract. The minimalist design reflects this abridged adaption and yet packs in a surprising amount of storytelling through very effective symbolism, particularly the recurring motif of red cord which functions as a restraint, fire, societal duty and more at different points, and the unravelling blood red tapestry hanging ominously over the stage.

Beroud’s Georgian inspired costumes are also steeped in symbolism, with an oppressively monochrome palette. Trui Malten’s lighting design appears deceptively simple as initially shadowy, cool lights flicker into flames before warming Jane and Rochester’s blossoming romance with gold tones. It’s simple but inventive, at one point using nails in the wall to cast reaching shadows onto Rochester’s emotional prison. Gotch’s movement design is woven seamlessly throughout the story with a spasmodic ballet – at times dancing, climbing, escaping – overshadowing Jane and Rochester’s love.

The cast is a performance masterclass. Laura Mekhail shows us Jane’s transformation with grace, grit and soul, while showcasing her sparkling soprano top notes and powerful lower register. Hector Bloggs’ booming baritone makes the whole space reverberate with Rochester’s regret and despair. Anna Sideris, Emily Hodkinson and Lawrence Thackeray offer some welcome levity as the Rivers’ family, jokingly showing off their exquisite harmonising. Steffi Fashokun’s Bertha Mason wordlessly conveys deep pain and turmoil. The small but mighty troupe of musicians (Alex Harmon, Aleem Kandour, Daniil Zemtstov, Thomas Vidal, Evangeline Tang, David Wheeler, Lewis Graham) deserve a huge round of applause for their expert performance, filling the space with beautiful, driving sound.

This focused adaption of Jane Eyre is at once powerful and raw while remaining refined and focused. It benefits from a little pre-reading, though as someone who doesn’t love opera I can wholeheartedly say it’s a phenomenal piece of art which works on many levels. Don’t miss your chance to fall in love with opera today!

JANE EYRE

Arcola Theatre

Reviewed on 6th August 2025

by Hannah Bothelton

Photography by Camilla Greenwell

JANE EYRE

Til Death Do Us Part

Theatre503

Reviewed – 10th May 2022

★★★★★

“a quite remarkable feat of theatre making all round”

If you could go back in time, what would you do? What would you change?

It is an over familiar and well-worn question. The subject of many late-night rambling discussions, and a theme in many more dramas on stage and on screen. So, another play in which the characters frequently ask one another the question suggests a claggy hour and a half of yawn stifling.

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But don’t be fooled. Safaa Benson-Effiom’s debut full-length play approaches the question in a wonderfully fresh and deeply harrowing way. Partly because, although a leitmotif, it is secondary to the narrative; unanswered and pushed into a corner by the distressing circumstances and events that spearhead the action. “Til Death Do Us Part” is essentially a drama about love and relationships and what happens when they fracture. We don’t always have the language to express the pain and grief that is felt.

After fifteen years of marriage, Daniel (Richard Holt) and Sylvia (Danielle Kassaraté) find themselves simultaneously drifting apart and trapped together. They are a fairly normal couple, with fairly normal lives and a teenage son (Jude Chinchen) from whom they think the darker undercurrents of their marriage are hidden. When faced with their worst nightmare the couple are forced to confront the years of unspoken resentment. Unarmed, except for the rapier-like honesty which cuts to the surface, they fight their common demons alone.

Benson-Effiom plays with time. We are, at once, in the present and the past but the text yields no confusion under Justina Kehinde’s extremely slick direction that creates a world where memories and ghosts are one and the same. Tom Foskett-Barnes’ ominously evocative sound design lends touches of the supernatural, although we are still firmly rooted in reality. It is a quite remarkable feat of theatre making all round.

But at the forefront are the performances. Holt and Kassaraté dress their characters in more layers than you can count. Both of them unpredictable, they seize the danger inherent in Benson-Effiom’s writing. The portrayal of their heartache, loss, failure, regrets and fears are as blistering as the sparks that fly between them. Chinchen’s Andrew is equally mesmerising as the schoolboy, all smiles and effervescence concealing invisible cracks, playing his parents off each other right through to the tragic climax. In a novel twist the climax precedes the build-up, which paradoxically intensifies each.

The exploration of grief and blame is profound but not heavy handed. A short line of dialogue is enough to convey a decade of emotion. We live in a society where platitudes abound that try to make sense of the chaos that extreme loss wreaks. This insightful production makes them flesh. A riveting, must-see ninety minutes of theatre. If you can see beyond the trigger warnings, Safaa Benson-Effiom is a name to look out for.

JANE EYRE

Arcola Theatre

★★★★★

“at once powerful and raw while remaining refined and focused”

JANE EYRE

Arcola Theatre

Reviewed on 6th August 2025

by Hannah Bothelton

Photography by Camilla Greenwell

Last ten shows reviewed at this venue:

JANE EYRE

JANE EYRE

JANE EYRE

Theatre503

Reviewed – 10th May 2022

★★★★★

“a quite remarkable feat of theatre making all round”

If you could go back in time, what would you do? What would you change?

It is an over familiar and well-worn question. The subject of many late-night rambling discussions, and a theme in many more dramas on stage and on screen. So, another play in which the characters frequently ask one another the question suggests a claggy hour and a half of yawn stifling.

Reviewed by Jonathan Evans

Photography by Steve Gregson

Til Death Do Us Part

Theatre503 until 21st May

Previously reviewed this year by Jonathan:

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