At first glance, Charlotte Brontë’s 19th-century exploration of social class, religion and what it means to be an individual in her literary staple “Jane Eyre” might not seem an obvious fit for the whimsicality of musical theater. But the creative minds at the Williamsburg Players hope to surprise audiences with “Jane Eyre: The Musical” May 31-June 16.
“The audience is going to come with an idea of what the story is. It’s your classic love story,” said director Marty Bussert. “I think they’re going to be surprised by how well the music fits.”
With music and lyrics by Paul Gordon and a book by John Caird, the “Jane Eyre” musical debuted on Broadway in 2000 and garnered five Tony-award nominations.
The Players’ interpretation begins with the titular character emerging from the audience, breaking the fourth wall to explain her upbringing, defined by her abusive aunt and cruel cousins, as Jane strives to become a unique individual in an often callous world.
“The book speaks to the broad themes of being a woman,” said Amy Stallings, who portrays the protagonist and also teaches classes on 19th-century literature at the College of William and Mary. “I have always admired Jane’s highly developed sense of self and, even more crucially, her recognition of a self-worth that transcends the tangible world.”
Eyre also endures a harsh existence during her boarding school days at Lowood Institution. She subsequently finds work as a governess at Thornfield Hall, where she falls in love with patriarch Edward Rochester.
“But he has a dark secret,” Bussert said. Eventually, revelations come to light and circumstances change forever as the situation ultimately goes up in literal flames during the third act.
“It was quite a challenge trying to figure out how to set fire to the set without having to rebuild it the next day,” Bussert said. The solution combines smoke, flickering lights and implied happenings off-stage. “It’ll make the whole place look like it’s burning.”
The earlier scenes that chronicle Eyre’s childhood and boarding school experience come to life in front of a scrim, a thick wall of fabric that appears opaque until lit from behind. As the later action turns to Thornfield Hall, the stage opens up to reveal the constructed set that serves as the backdrop for much of the later action.
The production also incorporates a live orchestra, a major feat when community theater groups tend to rely on recordings for their music. It adds extra logistical challenges, like ensuring the musicians’ volume levels don’t overpower the actors or fade away into the background.
“Any time you’re using the orchestra, you add another layer. It can be stressful, but I think we’re very prepared,” said Jeff Nicoloff, the actor portraying Rochester. He also lauded the music for its challenging tempos. “It’s some of the most beautiful music I’ve ever sung.”
The musical aspect allows opportunities for the characters to express themselves directly to the audience, which puts a different spin on the story compared with the novel that focuses on Eyre’s perspective. The mysterious Rochester becomes more transparent as his relationship with Eyre develops. Bussert also implements an onstage ensemble of eight young women who sing about Eyre’s thoughts and feelings during the show.
“They act almost like a Greek chorus,” Bussert said.
Although Brontë’s story tackles plenty of serious themes, Bussert emphasized that the production offers more than gloomy reflections on the nature of existence.
“There are funny parts,” he said, giving the example of Mrs. Fairfax, the Thornfield housekeeper whose poor hearing leads to humorous misunderstandings. “It lightens the mood.”
Some of the songs also aim to provide laughs in the midst of the drama.
Prior to be cast as the young version of Eyre, Anneliese Bush said she wasn’t especially familiar with the source story but she’d been swept away by the musical version’s soundtrack.
“I thought it was just beautiful,” she said. “I hope they get lost in it, like you would with a really good book.”
Although the book is more than 170 years old, Stallings said Jane Eyre’s story conveys lessons that transcend time as the character stands up for herself in a world all too eager to stamp out her flame.
“She has an infallible internal moral compass,” she said. “The fact that she cares what becomes of her is enough to change her behavior. I think that’s still a valuable lesson for young women.”
Want to go?
“Jane Eyre: The Musical” runs May 31-June 16 at the James-York Playhouse, 200 Hubbard Lane. Tickets are $20 or $12 for students, available at williamsburgplayers.org or by calling 229-0431.
