Jane Eyre, Northern Ballet Review 4*
Jane Eyre brings Charlotte Brontë’s novel to the ballet stage courtesy of choreographer Cathy Marston and Northern Ballet
Charlotte Brontë’s 19th century Romantic novel, with its triumphant cry of “Reader, I married him!” is justly admired for the character of its indomitable heroine, Jane Eyre, and the intense love that develops between her and Mr Rochester.
As a story it’s eminently danceable; and the combination of choreographer Cathy Marston and Leeds-based Northern Ballet, both specialists in narrative dances, produced an atmospheric, often transporting ballet, which premiered in 2016 and returns now to Sadler’s Wells as part of a nationwide tour.
Cathy Marston follows Brontë’s story faithfully delving at some length into Jane Eyre’s unhappy childhood – death of father, reluctant care by an aunt, three vile cousins, time spent in a cold, loveless orphanage…
Yet, for all its detail, or maybe because of it, that first section is a tiresome misery fest; and the ballet doesn’t really get going until the adult Jane and Mr Rochester meet. Then it catches fire (metaphorically and later literally). It grips and never lets go.
Its genius resides in the crafting of the pas de deux between Jane and Rochester, and how they trace the evolution of a passionate connection.
A dark, arrogant Rochester, returned home from his travels, gradually becomes aware of his ward’s new governess, Jane. Somebody to toy with, no doubt. So, with a smirk he approaches her.
Dominique Larose and Joseph Taylor in Jane Eyre. Photo: Colleen Mair
What follows is fascinating clash of wills, where power zigzags between the two. Much to Rochester’s surprise, Jane, a spirited woman, proves his equal. If Rochester turns to go away, she pulls him back. She’s never passive. She imbues the lifts with power and energy.
The second key pas de deux comes after Jane saves Rochester from a fire. All arrogance gone, Rochester is now a man in love; and they abandon themselves to their passion.
Dominique Larose and Joseph Taylor in Jane Eyre. Photo: Tristram Kenton
Despair infuses the duet where Rochester confesses he can’t marry Jane because his mad first wife, Bertha, is still alive. Rochester begs, Jane resists. It’s a long, heart-wrenching duet, which ends with Jane running away.
And finally, there’s the chastened reunion between Jane and Rochester, he now blind as a result of the raging fire set by Bertha This pas de deux is low key love as gratitude and acceptance of a less than perfect reality.
On opening night, Joseph Taylor, back with his home company after a stint with the resurgent London City Ballet, was a totally convincing Rochester, his chemistry with Sarah Chun’s compelling Jane truly breaching the fourth wall.
The central pair was well served by a lively ensemble with stand out performances from Rachel Gillespie as a feisty young Jane, Heather Lehan as a quirky Mrs Fairfax and Julie Nunès as Rochester’s ward.
Patrick Kinmoth’s functional sets rely on sliding curtains to frame each scene and throughout evoke the Yorskshire moors, depicted in broad brush on the backcloth. The fatal fire, expertly lit by Alastair West, offers a wonderful coup de théâtre.
Amber Lewis in Jane Eyre. Photo Emily Nuttall
Philip Feeney’s unobtrusive, narrative score was played live under Daniel Parkinson’s baton, always a plus at a time when reduced subsidies have led the company to rely mostly on recorded music.
© Teresa Guerreiro
(Banner image credit: Northern Ballet, Dominique Larose and Joseph Taylor in Jane Eyre. Photo: Tristram Kenton)
Northern Ballet’s Jane Eyre is at Sadler’s Wells 13 – 17 May and Norwich Theatre Royal 20 – 24 May 2025. Full details and tickets here