‘Jane Eyre’: A fitting swansong for the Genesian

The Genesian Theatre’s final full production at its hitherto home in Kent Street is a perfect example of the exceptional standard this small, amateur company consistently delivers. Rather than an austere gothic tale, as it is often depicted, Jane Eyre, in the hands of the Genesians, vibrates with love and laughter. 

Many of us first came to Charlotte Brontë’s classic novel via high school English, and either loved or hated it. Later exposure to the dozens of film, television and stage adaptations may have swayed your opinion or affirmed it. Regardless, it’s hard to argue the status of Jane Eyre as one of the greatest English novels ever written. 

Director Ali Bendall also wrote this adaptation, and it is an absolute joy; fresh and imaginative while still preserving the essence of Brontë’s original novel. Bendall has reduced a very dense story into a dramatic work whose central characters have depth and a full arc, and whose narrative is epic but not burdensome. 

Jane Eyre is written in the style of a Bildungsroman, that is, it traces the moral and psychological development of its protagonist from youth through to adulthood, usually with that character finding enlightenment or redemption. The narrative is told in the first person by Jane Eyre herself. 

As you can imagine, the stage role of Jane is a hearty one, requiring a performer with good instincts, plenty of stamina, and natural rapport with cast and audience. Enter Kyra Belford-Thomas. 

Belford-Thomas holds the room in her thrall from the moment she takes the stage to her well-deserved curtain call. Confidently speaking witticisms in a Northern English accent, assuming a posture of defiance, and presenting a personality that is much taller than Jane’s diminutive physical stature, Belford-Thomas handles the critical role with mastery. 

Almost equally important is the role of Rochester, Jane’s love interest. Vincent Andriano steps into the tall riding boots of Rochester with aplomb and a kind of gruff charisma. Andriano and Belford-Thomas have great chemistry and spar like a classic 1940s Hollywood comedy duo. 

Julia Grace is delightfully whimsical as young Adele, Rochester’s ward, ever leaping and twirling in ballet slippers. Genesian favourite Jenny Jacobs is a warm, likeable Mrs Fairfax. In a handful of appearances as the bitter, spiteful Mrs Reed, Roslyn Hicks is stunningly affecting, inspiring both antipathy and pity. 

The remaining cast play multiple roles, and all are excellent. Worth special mention is Rhiannon Jean’s Blanch Ingram, whose comically repugnant personality and grating cackle never failed to evoke laughter from the audience. 

The set design by Tom Fahy and Bendall comprises a large wooden structure with stairs and platforms occupying most of the lateral and vertical stage area. It gives a rustic ambience as well as cleverly facilitating different settings without need to change the set. 

In a fine homage to the little church theatre, the back wall of the stage (which is actually the front of the church) is fully exposed, showcasing three beautiful stained glass windows and the original brick wall. 

Cian Byrne helps establish transitions in time and place with clever lighting. Byrne’s sound design incorporates modern folk-pop songs that add an interesting dimension to the whole aesthetic. 

Bendall’s direction is spot on. The characters are credible and interact well with each other; the comedy is perfectly delivered; the ensemble pieces are well choreographed. 

This is truly a magnificent production, a suitable finale to the Genesian company’s residence at the little old church in Kent Street. Don’t miss the opportunity to experience both this production in this theatre.  

Jane Eyre
Until November 10
420 Kent St, Sydney
www.genesiantheatre.com.au