There is something exciting about going to a production I know very little about. I don’t know the music, or very much about the performers.

I ready my pen and paper, sit back and prepare to be transported. And transported I am; from the hauntingly beautiful opening notes from Michael Nicholas Williams on piano and Elena on violin, I am transfixed.

Transfixed by the melodies, by the story and particularly by Awhimai Fraser in her portrayal of Jane Eyre, the centre of this tragic and romantic tale.

Ill-treated by her aunt and cousin, orphan Jane is sent away to boarding school, where her spirited and righteous personality is tempered by her friendship with the ill-fated Helen. Jane becomes a tutor at the school but longs to see other sights.  She takes the governess position to Adele, the young French ward of Edward Rochester at Thornfield Hall and becomes entwined with the lives, secrets and ensuing tragedy therein.

Presenting this wonderfully-written piece of theatre are the 2nd year students of the Whitireia Musical Theatre course and a very able supporting ensemble of 1^st years.   

Awhimai Fraser is already a talent going places (member of The Beat Girls and has represented NZ at the Performing Arts World Championships), and is definitely one to watch for in the future. She embraces the character of Jane Eyre with every part of her being. Her voice is so versatile and expressive, technically solid with excellent diction. Occasionally her thought process is a little too obviously acted but you can see the depth at which she has researched and she stays totally connected with her through the entire 2 and a half hours.

Pernille Osborne plays both Helen, Jane’s boarding school friend and Mrs Fairfax, Thornfield Hall’s housekeeper. The former is a quiet humble character and she plays her with simple beauty; her easy clear tone during the most beautiful song, ‘Forgiveness’ certainly starts the tears prickling behind the eyes. 

In contrast, Pernille’s portrait of Mrs Fairfax is most enjoyable with great comic timing and caricature. Her CV notes say she has extensive dance training which unfortunately we don’t get to see in either of these characters. Sometimes I feel she is not as comfortable in her singing body as perhaps she may be with dance, as she’s a little static at times.

Kane Le’aupepe plays Mr Rochester, Thornfield Hall’s ruggedly handsome and perplexed master. He has a warm, rich natural baritone sound with a light falsetto, which he uses well to create the necessary softness in his character.

Having come to singing and theatre in his late teens, this is still very much a developing voice and the ease and comfort of range transition will round out with time.  He manages the complexities and conflicts of this character well, and I am most sympathetic and convinced with his portrayal of Edward ‘s vulnerability towards the end of the show.

Eilish Carmichael excellently characterises the other 3 main females roles, who are all very strong and discontent in their own diverse way. Mrs Reed, Jane’s selfish Aunty, takes revenge on Jane because she is jealous and resentful; Bertha, the mad wife locked in the attic, is, well, mad; Blanche, the pompous, socialite wanting Edward’s hand in marriage is scathing of anyone ‘beneath’ her and money grabbing. 

As Blanche, Eilish is able to show off her lyrical soprano voice to great effect. Strong and clear with comical finesse, the song ‘The Finer Things’ has a nod towards Strauss’s ‘Laughing Song’ and Lloyd Webber’s ‘Think Of Me’.

All the other roles are performed by a very polished group of 1^st year students, with particular attention being drawn to Benjamin Paterson and his fine baritone voice and Madison Hughes in her delightful depiction of Adele, the young French ward.

The superb lyrics and music have been taught with precision by the diction-fastidious Michael Nicholas Williams who, as well as brilliantly playing the entire orchestral score reduced for the piano, has also enhanced it with a stunning violin part, played with such sensitivity by Elena (alternating with Hedda Oosterhoff for some performances).  The violin timbre often sounds like another voice part blending and supporting the on stage singers.

The director and resident acting tutor, Alan Palmer, creates a believable and versatile set using layered rostra, some cleverly draped fabric to depict the symbolic Chestnut tree and just a handful of simple props and furniture with the flow between dialogue, narration and song being seamless and natural.

Jason Longstaff’s lighting design works well and is authentically dim and sombre, although sometimes a little too dim in some upstage scenes (or maybe the actors didn’t quite find their light), and Jaden Walker skilfully operates the use of hung microphones to naturally blend the sound of the singers without being obtrusive in this intimate setting. Only occasionally are some voices and words lost in the instrumentation or placement on the stage.

The costumes are uniformed or rich in colour where needed and it is fantastic that several of the students also take on behind the scenes roles as well, learning the crucial art of what is required to produce a show, not just the accolade of performing in it.

This week has seen the closure of a veteran of the Wellington theatre world, Downstage, and I find it sad that New Zealand theatre will probably lose these young students overseas because of the limited funding and support of the arts here. So come along and see their beautifully executed performance while you still can.

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