When the playwright is also a musician and sometime composer of incidental music, it should surprise no one that she has strong ideas about the music for her own play.
One thing that struck me when I re-read Jane Eyre just before beginning to write the play, was a ballad that Bessie–a servant of Aunt Reed, and Jane’s nurse of sorts–sang to the young girl at a time when Jane had been especially mistreated. Oddly enough, though I had read the book a score of times before, I had no recollection of reading the lyrics to that song previously! I find it true in all my reading, that different aspects and scenes of a book will speak to us at different times in our lives. This is one
The cover of my first (paperback) copy of “Jane Eyre”–read until it fell apart.
reason I relish the chance to revisit a favorite book after a few years.
I hunted online to see whether “The Poor Orphan Child” was an actual ballad of the time (popular folk ballads were printed as cheap sheet music and sold on street corners or shops).
All evidence points to Charlotte Bronte herself as the author of the lyrics. Whether she had a melody in mind when she wrote them is anybody’s guess, as no tune is listed. But the words were quite evocative to me, and I found myself compelled to write a melody for them. The result will be heard in the opening moments of the play. Although the song’s origin (and singer) are not explained in the context of the play, they have a mournful quality which is appropriate to Jane’s orphan state. Indeed, orphans are a recurring theme, since not only Jane but Adele is (possibly) parentless; the school where Jane teaches later in the story also includes orphans (notably little Alice, Jane’s attendant). Not only children but adults are without parents: Rochester’s father died when he was a young man (no mention is made of his mother); the Rivers siblings have lost their parents. Continue reading
This blog post is a perspective on the adaptation of Jane Eyre being used by all for One. It has been common knowledge since our season was announced that I (artistic director Lauren Nichols) wrote it. But I haven’t published any explanation here of why I felt compelled to create my own version, since so many others exist.
Adapting Jane Eyre began as a bit of whimsy, nine years ago. I had been experimenting with non-linear storytelling in another play I was writing at the time, and I was appreciating its many benefits, especially in telling a familiar (perhaps too familiar) tale. It occurred to me that my favorite novel of all time would work well being told in this way, and I sketched an outline which pleased me. I promptly filed it away and half-forgot about it. Continue reading
This post, on the many and various forms taken by works which have been inspired by Jane Eyre, was contributed by Brittany King, a young actress making her afO debut. Brittany plays the interesting and challenging dual roles of Mrs. Fairfax and Rosamond Oliver.
Most classic works of literature have inspired countless other tales, spin-offs, revamps, adaptations and themes in storytelling, and Jane Eyre is no exception. Since its publication in 1847, there has been plenty of time for the novel to be dissected and resurrected in fresh, new ways, as well as to be adapted into multiple feature length films and television series, and of course, great theater adaptations. Continue reading
It is often instructive to look at what else was developing and popular at the time of a book’s publication. I asked two cast members to research literature, music and art of the 1840s, to better put Jane Eyre in context. Deborah Dambra and John Dunlap, both of whom play multiple roles (see cast list), provided the background information for this post.
“The Wounded Heron” (1837) by George Frederick Watts (c)Watts Gallery; Supplied by The Public Catalogue Foundation
The 19th century saw the rise of romanticism, whose strong association with the natural world was frequently used in symbolic ways to express abstract ideas. Some notable British painters of the first half of the 1800s are George Frederick Watts, J.M.W. Turner, and Edwin Lapseer–a notable painter of animals, including dogs, horses and stags.
Art has the strongest ties to Jane in the novel: Jane herself is an artist of some skill, who prefers rather bleak landscapes and somewhat macabre subjects. As a child she is drawn to the paintings of birds in their native habitat found in a book of naturalism in her uncle’s library. When trying to persuade herself out of her growing feelings for her employer, she decides to do a portrait in pure, soft pastels of the beautiful Blanche Ingram, and a plain charcoal portrait of herself, in order to underline the contrast between them. Continue reading
Though men’s clothing styles didn’t seem to change as drastically (or as often) as women’s did throughout the 18th and 19th centuries, there were at all times some very distinct differences between less formal and more formal attire. All coats were very form-fitting, giving an hourglass shape to the figure, and often featured oversized, cloth-covered buttons. Frock coats, calf-length, dress-like coats which buttoned to the waist, were primarily worn informally–especially if they were single-breasted and had a notched collar. More formal coats had peaked collars and were double-breasted. Morning coats–or ‘cutaways’–were, as the name suggests, cut away toward the back, giving the coat “tails”.
A gentleman wore a shirt with a high collar, a cravat (soft necktie, which could be tied in a variety of ways), a waistcoat (what we would call a vest–a sleeveless coat), and a coat, along with fly-front trousers (long and tight-fitting). Knee-breeches, worn almost exclusively throughout the 18th century, were seldom seen during the Victorian era except for riding horseback, or in formal court situations.
Gentlemen generally wore heeled-shoes. Farmers wore flat-soled shoes or workboots.
Thanks to Ben Wilder, who plays John Reed, for some of this research.
It is not always quite so evident that an author has drawn from her own life in writing a piece of fiction. But in the case of Charlotte Brontë, there are many facets of her personal history which find their way into Jane Eyre. This brief biographical post was researched by our youngest cast member, Lydia Ramsour, who plays Young Jane in several flashback scenes.
A brief biography of Charlotte Brontë–by Lydia Ramsour
Charlotte was born in Thornton, Yorkshire on April 21, 1816. Her mother, Maria, and father, Patrick, had six children–five girls and one boy. Patrick was an Anglican clergyman at St. Michael and All Angels church in Haworth, Yorkshire. Maria died of cancer on September 15, 1821, leaving the six children with their father to be cared for by the oldest sister, Elizabeth. Continue reading
If you have seen any of the myriad film or television adaptations of Jane Eyre, you have seen poor Jane wearing black or grey gowns…but do you know why? The servant class might own only two or three gowns total–dry cleaning did not exist, and the heavy, voluminous fabric made washing difficult. So a dark color was practical and serviceable: simply put, it hid dirt. Plus, its plainness was suitably humble, as well as generally less expensive.
But no matter what color gown was worn, there was a steady progression in the style of gowns at this time, which was vastly different from the styles of the Regency just twenty years earlier. Here to tell us a bit about it is Jen Rothenbush, who plays Blanche Ingram, likely to be the best-dressed woman in the room at Thornfield Hall (if she has her way). Continue reading