Amelia Cropley
Bleak and desolate Yorkshire moors, mysterious houses with hidden occupants and gothic heroines with gothic turns, Charlotte Brontë’s most acclaimed novel Jane Eyre will never not be on a reading list. It continues to this day to be a tale loved for many reasons, but its levels of suspense and mystique alongside the depth of Jane’s inner thoughts and character dispositions of Victorian England and Yorkshire remain unparalleled.
Expected of a quintessential classic, Brontë’s words are read for pleasure, analysed in study, and continuously being transformed into a myriad of mediums. From film adaptations and TV series to stage productions, you could catch this illustrious bildungsroman anywhere. But the most beautiful portrayal must be taking this gothic tale of heroinism and romance into the elegant and expressive form of ballet.
THROUGH THE FORM OF BALLET, THE BEAUTY OF BRONTË’S NOVEL SHALL LEAD THE WAY RATHER THAN HER WORDS.
The story Jane Eyre is known by its flawless writing of Brontë’s words and yet ballet shall utter not a single one of them. Instead, all will be conveyed with movement, connection and musicality – through the form of ballet, the beauty of Brontë’s novel shall lead the way rather than her words.
Northern Ballet it seems, is not falling short of this requirement in any respect. Especially after being nominated for the South Bank Sky Arts Dance Award 2017. Cathy Marston’s choreography, who has also choreographed Wuthering Heights for Northern Ballet, represents a Jane so conventional to Brontë’s work: fragile yet independent, plain yet ever-so-complex. With the Daily Telegraph describing the ballet as “a beautiful and expressive tribute to Brontë.”
The production trailer alone portrays the intense storyline through its rich and resonant violin, an instrument proposing the ominous tones to Brontë’s novel in front of one’s eyes through the live orchestra composed by Philip Feeney. This short but sweet preview showcases the talent and art of storytelling of Northern Ballet’s dancers. Dancers who shall be dancing in the heart of our city, Nottingham’s Theatre Royal from 8th-12th April 2025.
”AS EXPECTED, THE DANCING WAS POETIC, THE STORY-TELLING POWERFUL AND THE CHOREOGRAPHY FLAWLESS.” – MICHELLE RAWLINS, KICK BACK TIMES.
The sensational art of ballet can only be done justice by the professionals of this genre, due to unavoidably requiring such physical strength and strain not only to perform exquisite and unfathomable movements but to ensure a story is being told. This two-hour-long performance is at a constant high with the movement it presents, and the actors involved knowing inside out the choreography and physicality of multiple characters. Jane, played by Amber Lewis and Sarah Chun in Nottingham’s performances is on stage for almost the entire performance, and yet still take on other roles; such as Amber Lewis playing the role of Mr Rochester’s first wife, Bertha Mason. And Rachel Gillespie, who portrays both Young Jane and Adele alternatively night after night. All four of these characters being integral to the tale, and therefore not small roles for anyone.
Duets between Jane and Mr Rochester (played in-turn by Joseph Taylor and Jonathan Hanks), look more than astounding, breathtaking and unimaginably beautiful. Through their lifts and arabesques, their burgeoning romance is articulated so gently, yet dominantly to all prospective viewers. But forbye the soft and romantic portrayals of Jane’s developing love, the Northern Ballet teases with the erratic evolution of Bertha’s presence with her red rags and capricious leaps, creating Jane’s foil and the character we all sympathise with, yet unjustly do not root for. 
“THE NORTHERN BALLET’S UNIQUE MIX OF EXQUISITE DANCING WITH THEATRICAL STORY-TELLING DRAMA, MAKE THEIR PRODUCTIONS ACCESSIBLE YET COMPLEX, AS WELL AS INTREGUING AND ENTERTAINING.” – YORKSHIRE EVENING POST
So much is to be expected, and highly anticipated in these performances. The development of Jane as a young girl into an independent adult, the female friendships she develops along the way and whether this production keeps in touch with Brontë’s ‘plain’ heroine against the backdrop of gothic mystery and suspense and lavish social society. All in all, the question is how shall every aspect be elucidated with not a word spoken? Will we know at the exact moment Rochester is silently confessing he could bend Jane with his finger and his thumb, that ‘I cannot get at you, and it is your soul that I want.’? Or Jane hearing Rochester’s voice in the wind wherever she goes? But with the imaginative nature of ballet, this reviewer is assured one will.
Coming up in Impact Magazine’s next print edition, a full review of Northern Ballet’s Jane Eyre is what you shall find. Answering all the questions we have about the company’s spectacular dancers, their talent and their storytelling abilities. We have all become familiar with Charlotte Brontë’s Jane Eyre, but you must discover what this beautiful novel is like in a beautiful balletic accomplishment – whether that is through your own eyes or Impact’s soon-to-be review.
Amelia Cropley
Featured image courtesy of Canva designs, customed by Katie Barr. No changes were made to this image.
In-article image 1 courtesy of Tristram Kenton. No changes were made to these images.
In-article image 2 courtesy of Emily Nuttall. No changes were made to these images.
In-article image 3 courtesy of Tristram Kenton. No changes were made to these images.
In-article image 4 courtesy of Colleen Mair. No changes were made to these images.
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