{"id":10198,"date":"2026-03-03T12:00:48","date_gmt":"2026-03-03T11:00:48","guid":{"rendered":"https:\/\/kennethwoods.net\/blog1\/?p=10198"},"modified":"2026-03-03T12:00:48","modified_gmt":"2026-03-03T11:00:48","slug":"john-joubert-jane-eyre-review-from-the-spiny-stalls","status":"publish","type":"post","link":"https:\/\/kennethwoods.net\/blog1\/2026\/03\/03\/john-joubert-jane-eyre-review-from-the-spiny-stalls\/","title":{"rendered":"John Joubert – Jane Eyre. Review from The Spiny Stalls"},"content":{"rendered":"
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Read the original here<\/a><\/p>\n

JANE EYRE<\/em><\/h1>\n

Arcola Theatre<\/h2>\n

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\u201cat once powerful and raw while remaining refined and focused\u201d<\/h2>\n<\/blockquote>\n

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Green Opera\u2019s production of John Joubert\u2019s\u00a0Jane Eyre<\/em>\u00a0turns the best parts of opera into a phenomenal work of art. I strongly encourage anyone who \u201cdoesn\u2019t like opera\u201d to try it \u2013 productions like this will make you think again!<\/p>\n

An abridged adaptation of Charlotte Bront\u00eb\u2019s original story, the audience sees a mysterious woman in white engrossed in a blood red tapestry with branches, keys, books and other plot references suspended above us. As the lights go down, the woman suddenly flits between these objects, foreshadowing what is about to unfold. Then in darkness, tongues of flame illuminate the full cast before the lights come up on the end of Jane\u2019s time at Lowood School. She is considering leaving to become Rochester\u2019s governess at Thornfield Hall and a fierce argument ensues with Brocklehurst, the school\u2019s supervisor, before she frees herself of his cruelty. Times skips forward to Thornfield Hall as Jane rescues Rochester from incendiary catastrophe. It\u2019s clear the two already share feelings for each other and by the close of Act 1 they are planning their future together. However, the course of love never did run smooth, and a shocking revelation forces Jane to flee Thornfield Hall until love finally calls again.<\/p>\n

Joubert\u2019s complex score creates a rich and varied soundscape, heightening the emotional rollercoaster we find ourselves on. From clashy, postmodernist discordance, to sublime, soaring harmonies, it perfectly punctuates each scene and drives the plot forward in its own right. The complexity may not be the easiest on the ear for the musically uninitiated; but you don\u2019t need technical knowledge to appreciate musical director and conductor Kenneth Woods\u2019 accomplished interpretation of the conflict and harmony this powerful composition conveys.<\/p>\n

Kenneth Birkin\u2019s English libretto is refreshingly selective in its use of source text, emphasising the moments of emotional intensity and skipping over the rest. This creates an emotionally charged experience, elevating key scenes without seeming self-indulgent. In fact, the libretto is surprisingly clear, avoiding too much repetition (an opera bugbear of mine), and holding your attention even if you are familiar with the text. Though anyone unfamiliar with the story would benefit from doing some pre-reading to fill in the gaps.<\/p>\n

Another opera bugbear of mine can be the lack of dramatic immersion, especially in more static productions when you\u2019re up in the gods (sadly the only seats I can afford). Producing this in the Arcola Theatre is a revelation, as the intimate space draws us into the cast\u2019s full spectrum of emotions without having to take out a loan. Eleanor Burke\u2019s direction immerses us further, extracting powerful performances and cleverly using space, levels, movement and visually striking symbolism. Though my favourite part is the use of the woman in white and her tapestry. The reason Jane flees Thornfield probably isn\u2019t a surprise and the reveal risks becoming hackneyed; instead Burke uses that prior knowledge to manipulate the narrative, creating tension by foreshadowing events through her. Movement designer Alex Gotch also makes her presence ghostly in new ways, such as her unnatural actions and voiceless breathing.<\/p>\n

Emeline Beroud\u2019s set design is a stroke of genius. We open with key plot references lifted from the page and into the air in fragments. There is enough to keep the narrative grounded but their involvement remains delightfully abstract. The minimalist design reflects this abridged adaption and yet packs in a surprising amount of storytelling through very effective symbolism, particularly the recurring motif of red cord which functions as a restraint, fire, societal duty and more at different points, and the unravelling blood red tapestry hanging ominously over the stage.<\/p>\n

Beroud\u2019s Georgian inspired costumes are also steeped in symbolism, with an oppressively monochrome palette. Trui Malten\u2019s lighting design appears deceptively simple as initially shadowy, cool lights flicker into flames before warming Jane and Rochester\u2019s blossoming romance with gold tones. It\u2019s simple but inventive, at one point using nails in the wall to cast reaching shadows onto Rochester\u2019s emotional prison. Gotch\u2019s movement design is woven seamlessly throughout the story with a spasmodic ballet \u2013 at times dancing, climbing, escaping \u2013 overshadowing Jane and Rochester\u2019s love.<\/p>\n

The cast is a performance masterclass. Laura Mekhail shows us Jane\u2019s transformation with grace, grit and soul, while showcasing her sparkling soprano top notes and powerful lower register. Hector Bloggs\u2019 booming baritone makes the whole space reverberate with Rochester\u2019s regret and despair. Anna Sideris, Emily Hodkinson and Lawrence Thackeray offer some welcome levity as the Rivers\u2019 family, jokingly showing off their exquisite harmonising. Steffi Fashokun\u2019s Bertha Mason wordlessly conveys deep pain and turmoil. The small but mighty troupe of musicians (Alex Harmon, Aleem Kandour, Daniil Zemtstov, Thomas Vidal, Evangeline Tang, David Wheeler, Lewis Graham) deserve a huge round of applause for their expert performance, filling the space with beautiful, driving sound.<\/p>\n

This focused adaption of Jane Eyre is at once powerful and raw while remaining refined and focused. It benefits from a little pre-reading, though as someone who doesn\u2019t love opera I can wholeheartedly say it\u2019s a phenomenal piece of art which works on many levels. Don\u2019t miss your chance to fall in love with opera today!<\/p>\n

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JANE EYRE<\/em><\/h2>\n

Arcola Theatre<\/h3>\n

Reviewed on 6th August 2025<\/h4>\n

by Hannah Bothelton<\/h4>\n

Photography by Camilla Greenwell<\/h5>\n

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Last ten shows reviewed at this venue:<\/h2>\n
CLIVE |\u00a0\u2605\u2605\u2605\u00a0| August 2025<\/a><\/h5>\n
THE RECKONING |\u00a0\u2605\u2605\u2605\u2605\u00a0| June 2025<\/a><\/h5>\n
IN OTHER WORDS |\u00a0\u2605\u2605\u2605\u2605\u00a0| May 2025<\/a><\/h5>\n
HEISENBERG |\u00a0\u2605\u2605\u2605\u00a0| April 2025<\/a><\/h5>\n
CRY-BABY, THE MUSICAL |\u00a0\u2605\u2605\u2605\u2605\u2605\u00a0| March 2025<\/a><\/h5>\n
THE DOUBLE ACT |\u00a0\u2605\u2605\u2605\u2605\u2605\u00a0| January 2025<\/a><\/h5>\n
TARANTULA |\u00a0\u2605\u2605\u2605\u2605\u00a0| January 2025<\/a><\/h5>\n
HOLD ON TO YOUR BUTTS |\u00a0\u2605\u2605\u2605\u2605\u00a0| December 2024<\/a><\/h5>\n
DISTANT MEMORIES OF THE NEAR FUTURE |\u00a0\u2605\u2605\u2605\u00a0| November 2024<\/a><\/h5>\n
THE BAND BACK TOGETHER |\u00a0\u2605\u2605\u2605\u2605\u00a0| September 2024<\/a><\/h5>\n

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JANE EYRE<\/em><\/h2>\n

JANE EYRE<\/em><\/h3>\n

JANE EYRE<\/em><\/h3>\n<\/div>\n