Edinburgh Fringe 2024
Jane Eyre
Talking Shadows Theatre
Genre: Adaptation, classical, Fringe Theatre
Venue: Space @ the Mile
Festival: Edinburgh Fringe
Low Down
Nicely adapted piece of theatre brings the classic to the stage with some skill. The performances are nicely attuned hinting at abilities which we can glance at. Some issues in the space and setting are offset by the latent enthusiasm and clear common joy in being able to perform at such a high standard in the Festival.
Review
This is a young company with the verve and vitality you can expect of youth being guided by the hand of someone well versed in Edinburgh Fringe production. The combination of the two give quite a decent rendering of the Bronte classic.
There are some really impressive performances from this cast and whilst it would be unfair to single out individuals, there are some fantastic set pieces where the development of the relationship between characters has been allowed to flow and bring some coherence to the development of the narrative. Actors are acting beyond their years but as they each have the look of youth; nothing feels out of character. The acting off script could be more consistent, however when on line there are some nice flowing discussions happening which show the power balances between those in authority and those challenging it. Adapting a bildungsroman novel for the stage with such a young cast is a perfect choice to be made.
But at times the overall impression is of a cast that are still working within the confines of what they think they can do. They are much better than they appear to think. It would be a better experience if, collectively, they could push themselves and have the confidence that what they have is a very decent piece of theatre that can take the confidence of their beliefs. It is just shy of being that bit more than what it appears. Perhaps the subject matter in being a classic holds them back, but it is classic because it can take the pushing and have those shackles removed.
Directorially, some of the choices – allowing Mr. Brocklehurst to “appear” from the shadows and speak before emerging from the gloom is nicely done – tends to the idea of the gothic and fits perfectly with the milieu of the piece. There are a few areas of proxemics within the space with which they are working which could, however, do with some tweaking. Sight lines within the Space can be tricky and when large groups appear, having people naturally spaced across the stage can cause those at the sides to have issues.
The one discordant note is that if you are going to the trouble of kitting people out in costume especially boots, don’t have someone on with trackies and purple Nike Airs.
It could do with a bigger canvass and stage, and I would love to see what this company could do with that bigger space in which to work, however they have to work within the confines of what they have. As such it is a very decent piece of work and a truly faithful adaptation, however the glimpses of what they could do is food for thought. With such a rich pedigree of coming to the Fringe and leaving with great reviews, writer/director Rebecca Vines shall no doubt be back. With such a firm grasp on the tiller of this ship, I shall keep a sharp eye out for their return.
