“Jane Eyre” reviewed by C.J. Hyland

Highly Recommended **** Family, belonging, love and independence are all words that come to mind when one thinks of Charlotte Bronte’s classic novel, Jane Eyre. Yet, how can words become a dance performance worthy of Chicago’s storied Joffrey Ballet? I found out this evening as I watched British choreographer and director Cathy Marston’s interpretation of Bronte’s tale danced to life on the Auditorium Stage by the 64-year old ballet company, who kicked off its 2019-20 season this past Wednesday evening.

Marston’s production deserves much credit in its haunting, intense portrayal of a young orphaned girl from pitiful circumstances desperately trying to create a life for herself in an often harsh and brutal world. She shies away from “fairy-tale magic” and high-tech gimmicks in favor of another kind of magic, that of creating dance movements based on words and quotes derived directly from the novel. Marston’s visionary approach to this work means that every movement on stage has a very specific meaning or intent, allowing the dance and the dancers themselves to physically tell Jane’s harrowing tale.

And tell it they do.

Musical Director, Scott Speck and the Chicago Philharmonic accompanies the troupe on its literary journey. Playing an original score by Philip Feeney, which incorporates a combination of Schubert and Mendelsohn, adds a contemporary and modern-day feel while never overshadowing the dance that is at the heart of this production. Add to that a set and costumes designed by Patrick Kinmonth and lighting designed by Brad Fields and spectators are in for a real treat.

The performance begins on a sparse and shadowed, trance-like stage as a tortured and tormented Jane is fleeing from a demonic gang of male dancers. These D-men, described as her inner-demons, were mesmerizing with their slippery, serpent-like movements, and served as a kind of Greek chorus propelling Jane throughout the story. The young woman eventually collapses, catatonic, and is nursed back to health by a kind gentleman and his sisters. Her story is told from this point as a series of fragmented, dream-induced, memories progressing from her early childhood chronologically throughout her life.

The young Jane, danced this evening by Anna Gerberich, has a very difficult life right from the start. Raised without love by a wealthy aunt, picked on and teased by churlish cousins, Gerberich evokes compassion and empathy all while capturing Jane’s willfulness and stubborn defiance, even when such defiance has disastrous consequences for the young girl. The layering of movement is evocative and gives the impression of youth and confusion – of a girl trying to discover who she is.

Banished to a school for orphans, Jane’s abuse and degradation continue, until she eventually completes her studies and takes a position as governess for the young ward of Edward Rochester, at his manor home, Thornfield Hall. Things begin to look up for Jane as she and Rochester fall in love and eventually become engaged, but tragedy strikes our heroine once again as Rochester’s, previous and still legal, marriage to the insane Berthe is revealed.

Victoria Jaiani, as the 19-year old Jane, and Fabrice Calmels, as Rochester are visually stunning together, with Calmels towering over the diminutive Jaiani. Their chemistry onstage is palpable and watching the two navigate their relationship from first meeting to tentative acceptance and eventually to trust and love was a treat. Many of their early dance movements together were hesitant, quick and spiky, giving the impression of confused minds and uncertain souls. By the end of the performance their dance is all grace and power, mature in its tenderness, humility and humor, and a testament to their growth as individuals and as a couple.

For Ashley Wheater, the Joffrey’s Artistic Director, choosing Jane Eyre to start the season made complete sense for the company and what they are trying to do with dance. Following the success of last year’s “Anna Karenina” by Yuri Possokhov, Wheater knew Chicago Audiences would be drawn to the narratives at the heart of Marston’s performance. He understood Marston’s magic of translating words into the vocabulary of movement was uniquely suited to the Joffrey’s excellence in technique, their versatility, and their desire to tell stories through dance and, as such, Jane Eyre could not find a better dance company to tell her story.

He wasn’t wrong. For any lover of dance, and especially ballet, this is one performance not to be missed.

 “Jane Eyre” will continue thru – Oct 27, 2019

The Auditorium is located at 5o East Congress

 Tickets range from: $35-$199

call 312-386-8906 or visit www,joffrey.org

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at Jane Eyre.