Sydney Reviews

There’s something in the Eyre at Genesian Theatre Company’s swansong production at their Kent Street space.

Ali Bendall’s adaptation of Charlotte Bronte’s classic novel, Jane Eyre, features a robust and compelling central performance by Kyra Belford-Thomas as the gutsy governess, perfectly matched by a strong, enigmatic Rochester played by a brooding, Byronic Vincent Andriano. He plays bull via bruised devotion to her fine bone china shop.

Their interplay and chemistry is palpable, a thoroughly engaging repartee, a roiling romance tempered with intellect, mutual respect and an adamant and steadfast stand for equality by Jane. When Rochester registers latent chauvinism, Jane declares “Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong—I have as much soul as you—and full as much heart”.

An eleven strong ensemble supporting cast swirls about the two leads in various guises from an embarrassment of bitches to supercilious men in breeches, and a crazy blazing haired attic imprisoned arsonist.

Bendall’s adaptation is fearlessly faithful to the source material, acknowledging its origins as a book by having Jane address the audience as Dear Reader. For the most part, she manages to massage and manoeuvre the prose into astute aside, observational soliloquy and direct dialogue, extracting some decidedly delicious comedy, providing a breath of fresh Eyre in an oft told tale.

Bendall and Tom Fahy’s set design incorporates the back wall of the old church space complete with stained glass windows instantly conjuring the Christian morality that threads through the narrative, a morality that is thimble shallow Bible thumping and threadbare of compassion, with the notable exception of the exemplar, Jane Eyre, and to some extent, Rochester.

Every inch of the space, it seems, is utilised to create the ominously named Thornfield Hall, a gothic manor in which the drama plays out in Gothic manner, via trapdoors, turrets and ladders.

Costumes by company veteran, Susan Carveth evoke the period and lighting and sound design by technical stalwarts, Michael Schell and Cian Byrne add aural and lustrous texture.

A suitably strong and stylish production to end the final Kent Street season.