REVIEW: Wondrous cast brings ‘Jane Eyre’ adventure to life

In the profoundly moving new Black Box Theatre production, we learn that to “Eyre” is human and to forgive, divine.

Forgiveness is a major theme of the wondrous, gorgeous musical “Jane Eyre,” based on the classic 1847 novel by Charlotte Brontë, with a sweeping, surging score by Paul Gordon and tender, dramatic book by John Caird.

BBT artistic director and co-founder Lora Adams proves again there’s just about nothing she can’t put on at this priceless, 60-seat gem of a theater in downtown Moline. She again wears multiple hats in directing this mighty big show (39 musical numbers, 14 actors, boundless expanse of the human heart), as well as designing another tasteful, spot-on-set and elegant costumes.

Making its area premiere, the 24-year-old musical (set in circa 1830) brings Brontë’s gothic (and still timely) romance to life as the audience follows the independent, passionate governess Jane Eyre (played by Kiera Lynn Martin in her BBT debut), recalling her harsh childhood after being left as an orphan to an uncaring aunt, through her employment 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 warden of her pupil. Though drawn to each other (he’s 20 years older in the story), they are haunted by the ghosts of Rochester’s past, which threaten to enjoy any possibility of a future of love or happiness for either.

This is the largest production Adams has ever brought to the Black Box stage, and you’d have to have a soul of ice not to be drawn into the bewitching story – commandingly led by the intoxicating trio of leads Martin, Urbaitis and the powerhouse soprano Shelley Cooper as Blanche Ingram, a rival for Rochester’s affections.

I was most moved by Martin – who reveals an uncanny, preternatural calm and poise as the poignant, sensitive heroine. While both sopranos, she and Cooper offer a fascinating, delightful contrast in their equally stunning, heart-pounding portrayals.

A frequent veteran of the Black Box stage, Cooper takes on two roles here – first the stern, ruthless disciplinarian Miss Scatchard, and later, the flamboyant, 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 (like Jane) possesses a more humble, even, less showy and entirely 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 – affecting and absorbing reacting, in being able to communicate greatly by facial expressions alone. She does that first in watching and telling of her young self (played by Em Foster) at the beginning, and most touchingly, in her second act acceptance of Rochester’s marriage proposal. Martin’s look of bliss and yearning are transcendent.

Urbaitis is just as sentimental and touching in his daunting mountain of a part, which he scales triumphantly. He and Martin have a voluminous amount of stage time and they both are strong, mesmerizing presences – “My Hope of Heaven,” “Sail Away” and the inspiring closer, “Brave Enough for Love,” are among their duet highlights.

“Sweet Liberty,” “Secret Soul” and “Painting Her Portrait” are among Martin’s best numbers and she imbues Jane’s dream to be free and happy with admirable intensity and fervor.

Other standouts in the consistently solid cast include Karen LeFebvre (Mrs. Fairfax, who has two of the most vocally tricky songs – “Perfectly Nice” and “Slip of a Girl”), Stephanie Perry (Mrs. Reed/Lady Ingram), Eden Myers (Helen Burns/Adele), Daniel Williams (St. John Rivers), and Tyler Henning (Mason).

The entire ensemble often shines off stage in their choruses, displaying great harmonies, such as the Act 2 opener, “Sympathies Exist.” (Full disclosure: I had the pleasure to be a substitute accompanist for a few rehearsals.)

Special kudos to the enthusiastic music director Amy Trimble, who’s loved this show since it first came out, with her small but capable pit (joining Deb Swift on keyboard and flutist Karen McClintock).

This bountiful entertainment has what we all could use a bit more of — elegance, taste, style and enviable moral example. Performances of “Jane Eyre” will continue 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 the BBT website HERE.

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