PERFORMANCE PERSPECTIVES

"Jane Eyre"
SO WHO'S PERFECT?

This production of "Jane Eyre" was first performed on 4th September 1997 at the Wolesy Theatre Ipswich, England. It was invited to the 1999 Melbourne Festival.

Truth, balance and purpose are important ingredients in any storytelling venture and The Shared Experience Theatre's production of "Jane Eyre" manages to achieve all these things in very satisfying proportions. This success is due to two basic elements - an exceptionally successful and satisfying production concept and an extraordinarily good performance from PENNY LAYDEN.

The production is based on an elegantly simple concept that Jane's confined, frightened and repressed alter ego is physicalized within the production. This simple and very clever device guarantees that Jane Eyre's experience of life is clearly and potently shared with the audience.

HARRIETTE ASHCROFT who plays both Jane's alter-ego and Bertha (Rochester's mad first wife) who is locked in the attic also gives a fine performance which is exquisitely balanced against PENNY LAYDEN'S tort and intelligent portrayal of Jane Eyre.

Great but not Perfect
These two richly complex creations along with the engaging production concept make this an exhilarating theatrical experience. It achieves this outcome despite the fact that it is still not the perfect theatrical event for despite its wholeness of concept there remains imbalance in the approach to performance process by some members of the cast. Rochester (SEAN MURRAY) for example works satisfactorily enough within the framework of the production but fails to explore the same levels of complexity achieved by PENNY LAYDEN and HARRIETTE ASHCROFT. This appears to be because SEAN MURRAY focuses his energy in producing the end result rather than engaging in the process which will create the end result. Hence Rochester is displayed as a functional but one-dimensional character. This approach to performance does a disservice to the production for no more is known about Rochester at the end of the performance than was understood upon his first appearance. And this means that Rochester merely fulfils the role of the male stereotype - handsome, reserved, masterful and apparently desirable - but why Jane really needs to be associated with him is lost because we understand nothing but the externals of the man.

A Successful Sense of Purpose
I mention this imbalance in the performance process and this slight imperfection in the production process because I believe it is instructional. This is an acclaimed production, enthusiastically received by critics and audiences alike. It is deservedly applauded. The reasons for this are plain. It is the clear and readable intent of the production that binds any imbalance in the performance process together. It is bound purposefully and truthfully and thus any minor imperfections are totally eclipsed by the overall collective value of the way the story is being told.

When the overall sense of purpose is so potent minor imperfections seem not to matter.

Purpose versus Perfection
The same thing applies to the performance of an individual actor.

If there were any minor flaws in PENNY or HARRIETTE'S performance then I for one failed to see them. My attention was gathered up in the energy and purpose of the actors' choices. So 'perfection' is not a significant or even valuable goal. For the audience, if there is no clear intent and complex exploration then inevitably they will be critical of the detail. With clear intent, as was the case here, the audience is carried forward anticipating the outcome.

Congratulations to all involved.

November 1999

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