★★★★

“This is both a story of 1847 and one of today”

Charlotte Brontë’s Jane Eyre is the eponymous and block-busting mid-19th century romantic novel. First published in three volumes, its narrator, ‘plain Jane’ describes her childhood in the home of an abusive aunt, her punitive schooling, and her employment as governess to the ward of Mr Rochester at the gloomy Thornfield Hall. Rochester, of course, has a dark secret locked up in his attic. Jane Eyre is a story about confinement, mastery and love. For Rochester, Jane is ‘unfemale’, ‘a wild, frantic bird’ to be caged. But she is ‘no bird; and no net ensnares me; I am a free human being, with an independent will’.

This is both a story of 1847 and one of today. Newbury’s Watermill has translated the classic and pioneering novel into a seventy minute show that runs without interval, and that is followed, from Tuesday to Friday, by an interesting question and answer session.

Adaptor Danielle Pearson explained how almost half of her text was cut away about a week before the show opened, enabling her to create a taut and vibrant adaptation that remains truthful to the novel. Director Chloe France stripped away set too, and the show takes place with the back wall of the theatre visible and just a few simple wooden boxes on stage. Costumes are traditional and appropriate.

Just three actors were cast. Rebecca Tebbett has a luminous quality as Jane, and thoroughly inhabits the Yorkshire in which the action takes place. Wreh-Asha Walton has by far the most difficult task, taking on seven roles (plus Rochester’s dog). Interestingly, she portrays Rochester’s wife Bertha as a Caribbean woman, using some folk-dance inspired moves in a performance imbued with impressive power and authority. 2018 Stage Debut Award winner Alex Wilson has just the right amount of arrogant authority as Rochester. In one demanding and fast-moving scene he switches repeatedly from the role of Rochester to St John Rivers, Jane’s cousin, highlighting the dilemma that faces Jane as she chooses between going to India and returning to Rochester.

By stripping away so much that would be superfluous, this clever stage adaptation focuses on the power and poetry of Charlotte Brontë’s words, with some engaging performances from an impressive young cast. Not a moment is wasted.

You will have to be quick to catch this satisfying and thought-provoking show which closes on November 2.

Reviewed by David Woodward

Photography by Philip Tull

Trial by Laughter

Watermill Theatre

Reviewed – 24th September 2018

★★★★

“Joseph Prowen takes the lead with committed intensity”

If ever there were a time to champion free speech and the right of the press to hold the powerful up to mockery, then this is it. Ian Hislop and Nick Newman’s ‘Trial by Laughter’ tells the story of bookseller and satirist William Hone’s epic battle against government censorship in 1817. Hone faced not one but three trials for both libel and blasphemy.

This is personal for Ian Hislop, who as editor of Private Eye is purportedly the most sued man in English legal history. The two playwrights’ new work is strong on history and courtroom drama. It’s also something of a ‘ripping yarn’– a fast-paced funny story about how Hone used ridicule to get himself out of legal hot water.

Joseph Prowen takes the lead with committed intensity. He’s well-matched by Peter Losasso as the celebrated caricaturist George Cruikshank, who created nearly 10,000 vicious satires and illustrations during his long career. Both bring youth and likeability to their roles, Prowen most so when he is driven to nervous exhaustion at the end of three successive trials in three days.

Nicholas Murchie delivers a hilarious parody of legal pomposity as Justice Abbott and like several other members of the cast of eight, doubles several other roles including the ‘grand ole’ Duke of York. Dan Tetsell (previously seen in Hislop and Newman’s ‘Wipers Times’) has splenetic menace as Hone’s other judge, Lord Ellenborough, whose unsuccessful attempts to direct the jury were followed by his death soon after.

Helena Antoniou, Eva Scott and Jeremy Lloyd make up a trio of what looks like Blackadder-inspired comedic clowning in their scenes as the Prince Regent and his favourites. Eva Scott has an important ‘straight’ role, too, as Hone’s wife Sarah.

An ingenious set by Dora Schweitzer makes the most of the Watermill’s intimate stage, switching from Regency courtroom to palace in a matter of seconds by using some clever projections and multi-level cupboards, doorways and windows. As Hone wins the mob over with his wit and mockery, simple but effective sound design from Steve Mayo incorporates the audience into the action.

There are some pleasing period musical interludes by Tom Attwood throughout the show. One or two seemed just a little uncertain on the opening night of this packed production. The play ends with a slightly laboured scene pointing up Hone’s place in history.

Watermill Theatre

Reviewed – 30th October 2018

★★★★

“This is both a story of 1847 and one of today”

This is both a story of 1847 and one of today. Newbury’s Watermill has translated the classic and pioneering novel into a seventy minute show that runs without interval, and that is followed, from Tuesday to Friday, by an interesting question and answer session.

By stripping away so much that would be superfluous, this clever stage adaptation focuses on the power and poetry of Charlotte Brontë’s words, with some engaging performances from an impressive young cast. Not a moment is wasted.

You will have to be quick to catch this satisfying and thought-provoking show which closes on November 2.

Reviewed by David Woodward

Photography by Philip Tull

Jane Eyre

Watermill Theatre until 2nd November

Previously reviewed at this venue:

Trial by Laughter

Watermill Theatre

Reviewed – 24th September 2018

★★★★

“Joseph Prowen takes the lead with committed intensity”

Helena Antoniou, Eva Scott and Jeremy Lloyd make up a trio of what looks like Blackadder-inspired comedic clowning in their scenes as the Prince Regent and his favourites. Eva Scott has an important ‘straight’ role, too, as Hone’s wife Sarah.

There are some pleasing period musical interludes by Tom Attwood throughout the show. One or two seemed just a little uncertain on the opening night of this packed production. The play ends with a slightly laboured scene pointing up Hone’s place in history.

This is a cracking play, both historically-rooted and completely topical, and well worth a trip to Newbury.

Reviewed by David Woodward

Photography by Philip Tull

Trial by Laughter

Watermill Theatre until 27th October then touring

Previously reviewed at the Watermill

Teddy | ★★★★★ | January 2018

The Rivals | ★★★★★ | March 2018

Burke & Hare | ★★★★ | April 2018

A Midsummer Night’s Dream | ★★★★ | May 2018

Jerusalem | ★★★★★ | June 2018