An Eternal Literary Companion

Jane Eyre endures. She has become a literary touchstone, especially for young women across generations. Mention the book or character to someone who has encountered her story, and you’ll often witness that spark of recognition—they will light up in that wistful way that only a compelling memory will generate.

The character’s complexity, resilience, and moral strength continue to resonate deeply with contemporary audiences, proving that great literature transcends time. This production honors that legacy while bringing fresh vitality to Charlotte Brontë’s beloved heroine.

Whether hunched over a 19th Century table in a cramped bedroom, or doomscrolling through an iPhone, young women since the 1800s have consistently found much to identify in Eyre. It’s her search for love and identity and her constant fight to be understood and independent—even under the spell of love—that keeps her universal.

A Noise Within’s current production of “Jane Eyre,” adapted by Elizabeth Williamson and directed by Geoff Elliott, offers a compelling rendition of Charlotte Brontë’s classic novel. Running through April 20 in Pasadena, this adaptation brings to life the resilience and determination of its iconic heroine.

Jeanne Syquia delivers a nuanced portrayal of Jane, capturing her journey from a mistreated orphan to a self-assured woman seeking independence and love. Opposite her, Frederick Stuart embodies the enigmatic (and that’s being kind) Edward Rochester with a balance of charm and brooding intensity.

Deborah Strang adds warmth as the housekeeper, Mrs. Fairfax, while Trisha Miller adeptly navigates multiple roles, including Blanche Ingram and Grace Poole. Miller may be spread too thin, however, in the three small roles of her assignment, given the depth and range of her talent. The supporting cast, featuring Riley Shanahan, Bert Emmett, Julia Manis, and young Stella Bullock, contributes to the depth of the production.

The only production miscue again stems from the use of various actors in more than one role. When Shanahan makes his first appearance as Rochester’s long-gone business partner from Jamaica, I choked slightly to avoid a guffaw, so startling were his shiny fake wig, mustache and Van Dyke beard, which evoked an aging Chinese politico more than a sophisticated trader.

Shanahan is consistent in all of his roles, but perhaps a few more actors could have been hired across the board?

Meanwhile, the production design, always a strong suit at A Noise Within, effectively evokes the Gothic atmosphere central to Brontë’s narrative. Scenic designer Frederica Nascimento crafts a hauntingly grand Thornfield Hall, complemented by Angela Balogh Calin’s period-appropriate costumes that reflect the novel’s moody aesthetic.

Ken Booth’s lighting design and Robert Oriol’s evocative score heighten the play’s tension, immersing audiences in Jane’s world.

While the adaptation strives to remain faithful to the original text, some dialogue feels stilted, occasionally hindering the natural flow of conversations. Shakespeare’s densest soliloquies could sound like casual office gossip next to some of these passages. But at least this time out, no cast members spoke with their backs to the audience, as often happens with this company.

To be sure, the cast’s strong performances breathe life into the script, ensuring that the emotional core of the story continues to resonate with the audience.

“Jane Eyre” runs through April 20 at A Noise Within, 3352 E. Foothill Blvd., Pasadena. Tickets and additional information are available at www.anoisewithin.org.