In the new deeply moving Black Box Theater production, we learn that “Eyre” is human and forgive, divine.
Forgiveness is a major theme in the wonderful and beautiful musical "Jane Eyre," based on the classic novel from 1847 by Charlotte Brontëwith a radical and soaring score by Paul Gordon and tender and dramatic book by John Caird.
BBT artistic director and co-founder Lora Adams proves once again that there is almost nothing she can't direct in this priceless 60-seat theater gem in downtown Moline. She once again wears many hats directing this grand show (39 musical numbers, 14 actors, a limitless expanse of the human heart), as well as designing other tasteful, set-perfect, and elegant costumes.
Making its regional premiere, the 24-year-old musical (set circa 1830) brings Brontë's gothic (and still relevant) romance to life as audiences follow the independent and passionate governess Jane Eyre (played by Kiera Lynn Martin in her BBT debut.), recalling her harsh childhood after being left an orphan by an uncaring aunt, thanks to her job as a governess at Thornfield Hall.
There she meets the mysterious and magnetic Edward Fairfax Rochester (played by Joe Urbaitis), master of the house and guardian of his student. Although attracted to each other (he is 20 years older in the story), they are haunted by the ghosts of Rochester's past, who threaten to take away any possibility of a future romance. or happiness.
This is the biggest production Adams has ever brought to the Black Box stage, and you'd have to be a soul of ice not to be drawn into this spellbinding story – masterfully directed by the intoxicating trio of the protagonists Martin, Urbaitis and the powerful soprano. Shelley Cooper as Blanche Ingram, a rival for Rochester's affections.
I was very moved by Martin – who reveals a strange, otherworldly calm and poise as a poignant and sensitive heroine. Although both sopranos, she and Cooper provide a fascinating and delightful contrast in their equally astonishing and thrilling performances.
A frequent veteran of the Black Box scene, Cooper takes on two roles here: first the stern and ruthless disciplinarian Miss Scatchard, and later, the flamboyant and larger-than-life Blanche. Toward the end of the first act, she literally stops the show with her spectacular operatic waltzes “The Finer Things” and “Oh, How You Look in the Light.”
Martin (as Jane) possesses a more humble, even-keeled, less showy and altogether captivating singing voice and personality – still glorious in its radiant beauty. She and Cooper share a wonderful duet in the second act, “In the Light of the Virgin Morning” that complement each other and fit together like perfect puzzle pieces.
Martin also has what every actor should aspire to: an affecting and absorbing response, being able to communicate greatly through facial expressions alone. She does this first by looking at and relating to her younger self (played by Em Foster) at the beginning, and more touchingly, in her second act by accepting Rochester's marriage proposal. Martin's look of happiness and desire is transcendent.
Urbaitis is equally sentimental and touching in his role as the intimidating mountain, which he climbs triumphantly. He and Martin get plenty of stage time and they are both strong, compelling presences – “My Hope of Heaven,” “Sail Away” and the most inspiring, “Brave Enough for Love,” are among the highlights of their duo.
“Sweet Liberty,” “Secret Soul,” and “Painting Her Portrait” are among Martin’s best tracks, and she imbues Jane’s dream of being free and happy with admirable intensity and fervor.
Other standouts from the consistently strong cast include Karen LeFebvre (Mrs. Fairfax, who has two of the most vocally delicate songs – “Perfectly Nice” and “Slip of a Girl”), Stephanie Perry (Ms. Reed/Lady Ingram) , Eden Myers (Helen Burns/Adele), Daniel Williams (St. John Rivers) and Tyler Henning (Mason).
The entire ensemble often shines offstage in its choruses, displaying great harmonies, such as the Act 2 opener, “Sympathies Exist.” (Full disclosure: I had the pleasure of serving as a substitute accompanist for a few rehearsals.)
Special congratulations to enthusiastic musical director Amy Trimble, who has loved this show since its first release, with her small but capable pit (joining Deb Swift on keyboard and flautist Karen McClintock).
This bountiful entertainment has what we could all use a little more of: elegance, taste, style and an enviable moral example. Performances of “Jane Eyre” will continue on March 22, 23, 24, 28 and 29 at 7:30 p.m. and Sunday, March 24 at 2 p.m. Tickets ($16) are available at BBT website HERE.
