THE ROCKY WORLD OF JANE EYRE

F.J. Hartland

When entering the Charity Randall Theatre for the current production of Pittsburgh Irish and Classical Theatre’s production of Jane Eyre, there appears to be three full trash bags of garbage on the stage.  A pitch to remind us to re-cycle? 

No, there are supposed to be rocks. 

They are—without a doubt–the phoniest looking rocks I have ever seen.

Behind them are trees.  In the trees are the opening lines of the classic novel Jane Eyre where Jane describes how it is too cold and wet to walk outside.

And yet that’s where PICT has deemed fit to set Jane Eyre—outside.  The trees become doors, and the rocks are furniture.  People sit on them, have tea on them, sleep on them—even die on them.

In the laboriously long Act One, there was really only one (okay, maybe two) scenes set out-of-doors.

So between the lengthy narrative sequences and scenes where people stand and talk…and talk…and talk, I began to ponder why these proper English people are taking tea by a fireplace while sitting on rocks?  (And rocks that aren’t all that convincing as rocks—have I mentioned that?)

Is it because Jane’s life is so rocky?  Is it because life is so rocky?  Does somebody at PICT really like Sylvester Stallone as Rocky?  Rocky road ice cream?  Martinis-on-the-rocks?  Who knows?  Perhaps I can get someone older and wiser (perhaps my fellow theatre reviewer Ted Hoover?) to explain it to me.

Normally, I am a champion of Gianni Downs’ sets.  This time, no.

Jane Eyre is a classic—beloved by millions.  I hope the millions who aren’t familiar with the novel don’t walk away from this PICT production thinking—why do those other millions of people think this crashing bore is a classic?

The musical underscoring (by Douglas Levine and Mary Beth Malek) is lovely and helps to relieve some of the tedium.  So does Kate Young’s charming and delightful performance as the housekeeper Mrs. Fairfax.

One of the things that Jane and Eyre and the character of Mr. Rochester have in common is that they are both to be somewhat plain.

Naturally, PICT casts the dashingly handsome David Whalen to play Edward Rochester.  The attempt to make Whalen “plain” is to put him in a hair piece that looks like a first cousin to a Halloween fright wig.  Now I know why Mr. Rochester is always in such a surly mood.  He’s suffering from a lifetime of “bad hair days”!

Whalen also plays the part rather like a buffoon—which also seems does not seem in keeping with the novel.

Three women play Jane throughout the various stages of her life:  Shelley Delaney, Jenna Lanz, and Allison McLemore.  It was akin to watching the Bob Dylan biopic I’m Not There where several Hollywood stars play the singer.  At times this technique works in Jane Eyre; at times, it doesn’t.

The highlight of Act One is when Rochester and Jane confess their feelings for each other.  At this moment, sparks really fly between McLemore and Whalen.

Other highly talented Pittsburgh actors like Joel Ripka and Lisa Ann Goldsmith are wasted on minor roles.

Catherine Moore plays several characters: most notably, the beautiful rival for Mr. Rochester’s affections, Grace Poole.  For some unknown reason, costumer Diane Kubasak Collins has chosen to make poor Ms. Moore look like a drag queen.  The character of Poole is introduced to the audience during a most peculiar period piece dance.  I was torn between 1) watching the odd (and l-o-n-g) dance or 2) trying to ascertain the real gender of Grace Poole!

Now THAT would have been a plot twist!

To the credit of director Scott Wise, there are some lovely stage pictures.  But at two-and-one-half-hours, this production drags on too long.

I will admit, it’s more than two decades since I’ve read Jane Eyre. I wish I’d stayed home and done that instead…while drinking an old fashioned (on the rocks)!

Jane Eyre continues through December 20.