Stage Review - Jane Eyre, the Musical (Enoch City Arts)

Stage Review - Jane Eyre, the Musical
Presented By: Enoch City Arts - Bremerton, WA
Show Run: September 19 - October 18, 2025
Date Reviewed: Saturday, October 18, 2025 (Closing)
Run Time: 2 Hours, 30 Minutes (inclusive of a 15-minute intermission)
Reviewed By: Greg Heilman

Some stories never lose their hold on us. Jane Eyre began as Charlotte Brontë’s 1847 novel — a blend of gothic mystery, social commentary, and the quiet rebellion of a woman who dares to think for herself. Since its publication, it has inspired dozens of film, television, and stage adaptations, from Orson Welles and Joan Fontaine’s brooding 1943 film to the many BBC mini-series that followed, giving way to the joke on the Disney show Phineas and Ferb, the latter offering up that there always seems to be “a new Jane Eyre in the offing”. The musical version, with book and lyrics by John Caird and music and lyrics by Paul Gordon, first premiered in 1995 at the Royal Alexandra Theatre in Toronto before making its way to Broadway in 2000, where it earned five Tony nominations. It’s interesting to note a familiar name, Sound on Stage Award winner Anne Allgood played the dual roles of Mrs. Reed and Lady Ingram in the 1999 La Jolla Playhouse version of the musical. Enoch City Arts’ recent production, which closed October 18, carries that lineage forward with an intimate staging and a focus on the emotional integrity of Brontë’s characters.

The production, co-directed by Kelli McAuley and Ann Bonner, is proof positive that a big story doesn’t need a big space to be performed well. The company makes creative use of movement in concert with lighting and sound to fill the black box space with atmosphere and emotional dimension. Simple lighting shifts — from clean white to soft green hues — mark transitions from interior to exterior scenes, providing clear context without the need for heavy scenic changes. Sound and lighting together establish location and mood so fluidly that the audience is never left guessing where the story has moved. The placement of the set pieces, minimal yet intentional, reinforces this flow and keeps the pacing — just north of two and a half hours — moving along at a decent clip.

The lighting design, particularly in this small black box environment, does much of the contextual legwork, guiding the audience’s perception of time, tone, and even emotion, complementing the more shocking and emotional beats of the story. The sound design is equally effective, balancing the piano accompaniment against the vocals with care. There’s a lovely equilibrium between the ensemble harmonies and the lead vocals, which is no small feat considering the range of ages and skill levels across the company.

Of course, this story belongs to Jane Eyre. And while the ensemble — made up of actors with varying levels of experience — does solid work in its group moments and supporting turns, the success of this production rests largely on the shoulders of Kelli McAuley in the title role, and to a slightly lesser extent on Terry McAuley as Edward Rochester. Kelli is a wonderful Jane, deftly pivoting between narrator and participant, between spoken word and song. Her vocal tone is warm and controlled, guiding not only her own emotional arc but the ensemble’s as well. Terry brings strength and presence to Rochester, navigating the emotional maze of the story with a firm hand and a touch of vulnerability. Together, the pair exhibits a natural chemistry that anchors the production and gives its quieter moments weight.

Other standouts include Sophie Harris as Jane’s young friend Helen Burns and Ivy Carman as the young Jane. Their duet, “Forgiveness,” is particularly moving — tender, sincere, and beautifully blended, even if Sophie’s spoken dialogue occasionally gets lost in the space. Gwendolyn Hodnett is delightful as young Adele, delivering a bright and lively performance complete with a convincing French accent. Melanie Stroud makes a strong impression in dual roles — first as the cruel Mrs. Reed, then later as the tormented Bertha Mason — both sung with richness and conviction. Valerie Hodnett, as Blanche Ingram, brings elegance and power to her scenes, her operatic voice soaring through the room. At times, that very power slightly overbalances the ensemble, but it’s a testament to the vocal talent assembled on stage that such moments stand out for their strength rather than flaw.

In the end, Jane Eyre at Enoch City Arts succeeds because it understands the heart of the material. It doesn’t try to overwhelm with spectacle; it trusts the text, the music, and the sincerity of its performers. Through careful direction, thoughtful use of lighting and sound, and a cast that believes in the story they’re telling, this production manages to make Brontë’s world feel as immediate and human as ever. It’s a reminder that in theatre — as in life — intimacy often speaks louder than grandeur.

The Enoch City Arts production of Jane Eyre, the Musical, has closed, but for more information about Enoch City Arts, including upcoming productions, visit https://www.enochcityarts.org/.