JANE EYRE
Southwark Playhouse Elephant
★★★½
“captures Brontë’s spirit, even if it doesn’t quite match the novel’s force”
Twenty-six years after its Broadway premiere, ‘Jane Eyre: A Musical’ finally debuts in London with a stellar cast and striking staging. Though Jane’s journey and the score could dig deeper in places, the production captures the resilience and integrity of Brontë’s classic.
Escaping a bleak childhood, orphan Jane Eyre seeks freedom and independence as the governess of Thornfield Hall. But the enigmatic Mr Rochester soon tests her resolve as she struggles to reconcile mind with heart.
John Caird and Paul Gordon’s book and lyrics smartly streamline Charlotte Brontë’s revolutionary novel, sharpening the focus on Jane and Rochester’s arcs. That said, it further exposes Rochester’s controlling behaviour, leaving the triumphant finale feeling a little under-earned. I wonder if further trimming the post-Thornfield wanderings could create space for a more convincing sense of equality. Overall, it strikes an admirable balance between fidelity and modernisation.
Gordon’s score, under Ben Kubiak’s musical direction, beautifully captures the brooding atmosphere, weaving melancholy and foreshadowing throughout. My standout song is ‘Sweet Liberty’, perfectly conveying Jane’s restless yearning for self-determination – though a couple more earworms wouldn’t go amiss. Cuts to several supporting characters’ numbers tighten the narrative, while the shift from the haunting ‘Sirens’ to the emotionally charged ‘Secret Soul’ as Act One’s finale reminds us of the emotional gulf between Jane and Rochester.
Olivier and Tony Award-winning director John Caird joins forces with Megan McGinnis for a boldly Brechtian staging, using multi-roling, onstage costume changes and the ensemble to voice Jane’s inner thoughts. It’s an inventive way of honouring Brontë’s intensely personal perspective, though I wonder if sharing Jane’s voice dilutes the very self-discovery it seeks to illuminate. Even so, Georgina Lamb’s fluid choreography and the ensemble’s ghostlike presence create a powerful sense of spectral guidance, making for a striking production.
Morgan Large’s evocative design shrouds the production in gothic melancholy, channelling the loneliness and turmoil at its heart. Layered monochrome costumes enable seamless multi-roling while reinforcing the dark atmosphere. Andrew Johnson’s crystal-clear sound design and precisely judged effects add texture, while James Whiteside’s restrained lighting makes every shaft of warmth feel hard-won.
The strong ensemble cast is slick and assured, shifting effortlessly between multiple roles. Charlie Burn makes a compelling Jane, balancing quiet determination with moments of defiance, with a voice that soars like a bird. Ashley Gilmour’s Rochester brings brooding charisma and emotional turmoil, with a richly sonorous voice. Isabelle Methven shines in the contrasting roles of saintly Helen and spirited Bessie, while Emily-Rose Samuel (sharing the role with Poppy Jason) impresses as Young Jane/Adele, combining a bright voice with remarkable maturity.
After finally crossing the Atlantic, Caird and Gordon’s ‘Jane Eyre: A Musical’ captures Brontë’s spirit, even if it doesn’t quite match the novel’s force. Still, its ghostly atmosphere and strong performances make it well worth a visit.
JANE EYRE
Southwark Playhouse Elephant
Reviewed on 8th September 2026
by Hannah Bothelton
Photography by Victoria Davies
