Jane Eyre | Joffrey Ballet
4 out of 4 stars
(Originally published on Chicago Stage Standard)
The Joffrey Ballet opens its 2019-20 season with the Chicago premiere of Cathy Marston’s enthralling adaptation of the classic novel, Jane Eyre, presented at the Auditorium Theatre, 50 E. Ida B. Wells Drive, in 10 performances only, October 16-27, 2019.
This production of Jane Eyre challenges the idea of a classic ballet heroine. After a difficult upbringing, Jane becomes the Governess for the mysterious Mr. Rochester, discovering the struggles of society’s expectations. With stirring choreography and a captivating Victorian design, this avant-garde ballet shows that love can conquer any obstacle.
Presented in partnership with American Ballet Theatre and set to music by Philip Feeney, Marston’s celebrated adaptation of Charlotte Brontë’s classic novel combines theater and dance to tell the coming-of-age story of one of literature’s most iconic characters.
Martson’s unique style brings story theater to her choreography. She really hones in on adapting the essence of Bronte’s words, which she does wonderfully. The audience becomes fascinated with the female heroine and the performance very much felt like I was rereading the novel. The color palette was subdued with vibrant pops of color, much like the story when I first read the novel itself. The plot arcs at particular moments that spark out at you amid the pages. Visually, the audience is so focused on the movement that it is like looking at a watercolor splashed with intense moments. The costuming by Patrick Kinmonth is lovely with soft lines that flow and compliment each dancer’s movement. The gothic qualities and historical regency era clothing inspiration is wonderfully captured in the costume design.
The female heroine’s journey is also expressed through a comparison with other female dancers, while a contrast against the male presence in the piece. We see a variety of female characters within the work. The orphans particularly set the scene for the commentary I saw in regards to female inequality. Their repetitive cleaning sequenced movements mimicked hand washing. A pushed concept of cleanliness and heaped upon it subconsciously an inner turmoil and guilt, an ever present strive for perfection. Additionally, Lucia Connolly as Mrs. Fairfax, Housekeeper at Thornfield under Mr. Rochester contrasted the others and made a comic relief almost in such a gothic heavy work. She encompassing a visual anxiety and need for pleasing, just one facet of the multiple roles the audience sees in the 19th century woman. A wonderful job at theatrical drama with such quick paced en pointe movements comparatively to the other women dancers.
Turning back to Jane, our heroine, her personal journey is expressed so perfectly that you felt for her instantly. Her transition from young tormented child to an inner turmoil is explored in so many different ways. The insanely talented Yumi Kanazawa portrayed young Jane. Her solo work is filled with passion and ferocity. As she transitions into womanhood, you see the movement in Martson’s choreography reflect more subtle anguish as seen in more weighted movement from Amanda Assucena as adult Jane. The physical motions for hope, isolation and inner turmoil were so amply felt and passionately charged. The first interaction between Jane and Rochester was one of my many favorite moments in this production. Amanda Assucena (Jane) and Greig Matthews (Rochester) paired together is so wonderful to watch. The natural language between them and the anguish conveyed in their facial expressions complimented each other so incredibly well as they moved through dynamic sequences. There were so many subtle details and moments that this performance got right in regards to the character’s qualities that is so heartachingly beautiful.
Cathy Marston is a choreographer, artistic director, Clore Cultural Leadership Fellow and board member of the Damzentrale Bern. After education in Cambridge, she spent two years at the Royal Ballet School, before launching a successful international career now spanning over 20 years. “Cathy is breaking glass ceilings in the ballet world, and with Jane Eyre she creates an unconventional heroine whose trials and passions are beautifully articulated through choreography,” said Ashley Wheater, The Mary B. Galvin Artistic Director of the Joffrey. “We are thrilled to bring her adaptation of Jane Eyre to Chicago for the first time following its successful North American debut with American Ballet Theatre this past June.”
The simplicity and easy flow of the plot makes this production wonderful for a wide variety of audience goers even sans playbill insert. This adaptation does a wonderful blend of choral work to create sense of intimate space, which makes it striking. The dancers give fire to this intellectually warm and evoking piece. Martson’s hybrid signature choreography is spell-binding set to a sweeping score.
The Joffrey Ballet performs Cathy Marston’s Jane Eyre Wednesday, October 16 through Sunday, October 27, 2019 at the Auditorium Theatre. Tickets are available for purchase at The Joffrey Ballet’s official Box Office located in the lobby of Joffrey Tower, 10 E. Randolph Street, as well as the Auditorium Theatre Box Office, by telephone at 312.386.8905, or online at joffrey.org.
The 2019-20 season marks the Joffrey’s final season at the Auditorium Theatre. The Company moves to the Lyric Opera House with the start of the 2020-2021 season. For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Twitter and Instagram. Learn more about choreographer Cathy Marston here.
