A story written nearly 200 years ago is still being told on stage today. That must be a commendation for said source material, however the question is: do modern audiences still appreciate it?

A new run of Jane Eyre A Musical is currently running at the Southwark Playhouse Elephant, 30 years after the original production, with direction once more by John Caird and Megan McGinnis. Both do a beautiful job of navigating the action around such an intimate stage, and use the space well. Although there was no choreography in the typical sense, Georgina Lamb is credited as contributing as much in the programme. I would personally call this role a ‘movement director’ but regardless, she has done an excellent job in ensuring the space never feels too stagnant, even in moments of intentional stillness. 

As a fan of the novel myself, it was at times hard to distinguish if the presentation of this musical was well done or if I was simply enjoying reliving the tale through a new medium. Having seen an amateur production of this same show, it is clear that the overall quality of this run was high in most areas, however some elements remained disappointing. The clearest example of this for me was the costume design by Morgan Large. Large’s set was so wonderfully fitting, adding a perfectly liminal, gothic atmosphere to the basement theatre, however all of the cast were then dressed in various shades and textures of black. These details were lost to the dark background, and it felt as though there could have been more creative or flattering choices made here. 

Paul Gordon’s music was beautifully written but not what I would dub a comprehensive score. The programme details 23 individually titled songs with no reprises, but it quickly felt that the same 4 or 5 numbers were on repeat with slightly different lyrics or structures. To reiterate, the sound and melody of these were truly gorgeous, however the libretto was definitely lacking variation in both speed and genre.

An indisputable highlight was the cast. Every performer was talented and fit their character well. Particular standouts were Charlie Burn in the titular role, whose vocals were flawless throughout, and Poppy Jason who plays a younger version of Miss Eyre alongside a second child. Jason has appeared both on and off the west end before, and with her professional manner and clear passion for the craft it is exciting to think where we may see her next. The biographies of the ensemble show that Sarah-Jane Price is a very competent casting director, as almost all have been involved in projects with a similar feel. Think: The Secret Garden, Les Misérables, and even Jo The Little Women Musical which made its UK premier at The Theatre Royal Drury Lane last year.

If Jane Eyre as a concept is particularly interesting to you already, then it is definitely worth coming to see. If this kind of story isn't really your vibe, I may advise you to choose differently!