Reviewed at Leeds Grand Theatre by Michelle Rawlins
Jane Eyre, one of literature’s great classics, has been retold countless times, but maybe never so eloquently and beautifully as Northern Ballet’s latest exquisite adaptation.
This Leeds based company have a unique way of making a story their own. Under Cathy Marston’s superb direction, this sublime interpretation of the world-famous Bronte novel was spellbinding.
As expected, the dancing was poetic, the story-telling powerful and the choreography flawless.
The minimalist set, incorporating curtains depicting barren North Yorkshire moorland, ensured the audience’s attention stayed with the dancers. Their skill, poise and eloquence was soulful.
Dominique Larose was breathtaking as the adult Jane, contradicting many of Bronte’s early reviewers, who viewed the female protagonist as difficult, obstinate and hard to like. Larose was able to display Eyre’s intensely powerful side, as well as perfectly relaying her vulnerability, which was so easily taken advantage of by all the men in her life, including Rochester. The sexually charged power play was evident in Joseph Taylor’s sharp leg moves, initially forcing the woman he wants to be exactly where he wants her, naturally oblivious to how his life will cruelly unfold.
Marston, who also directed Wuthering Heights for Northern Ballet, cleverly uses a chorus of male dancers to move as one, as dark clouds, which not only spell change for the woman who has had to continually battle for survival throughout her life, but act as her inner demons, which threaten to consume her.
Special mention must go to Amber Lewis who is bold as the damaged, and psychologically chilling, Bertha. Her fury-driven and demonic character is symbolised in her ragged, red dress, which only adds to her passionate characterisation. She moves from lingering in the shadows to ensuring everyone knows revenge, as she sees it, will be hers. The crimson red lighting, symbolic of blood, and the brainchild of Alistair West, was dramatic, adding a rare glimpse of colour to the generally, and rightly, muted stage.
The highly esteemed live orchestra, which has disappointingly and all too frequently been replaced by recorded music in some of the company’s recent performances, made a welcome return, led by Daniel Parkinson. The score, composed and complied by Philip Feeney, moved from dark to beautiful, adding to the ever-changing mood of the 19th century book.
Whether you love the ballet or are one of the many loyal Bronte fans, this highly charged and atmospheric performance should be quickly elevated to high up your ‘must see’ list.
Northern Ballet’s Jane Eyre is showing until March 22 2025, then touring until May 24 2025
Tickets here
Photos by Colleen Mair, Tristram Kenton