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“We used clothes as close to the real clothes that would have then been worn as possible,” Sanchez said, of the costume design by Rachel Anne Healy. “All of the actresses, for example, are wearing corsets. We wanted to enclose women in clothing reflecting the confining expectations that they live and experience.” For all that, Jane makes herself heard, and not just through soliloquies that Sanchez describes as “Shakespearean.” Central to Teale’s expressionist vision – as espoused by Shared Experience, the London-based theater company that staged “Jane Eyre” and of which Teale remains artistic director – is the importance of subjective experience, even if what a character feels doesn’t correlate with the objective world that character encounters. Tina Stafford (left), Margaret Ivey and Rebecca Hirota perform in Milwaukee Repertory Theater's production of "Jane Eyre." In the Rep production – a collaboration with Cincinnati Playhouse in the Park, where it debuted last month – that subjective reality is reflected in the modernist set: a largely empty space with ramps leading toward the room where Bertha is confined. Boxes are used to create tables and chairs. The 10-actor cast embodies inanimate objects as well as dozens of characters. Sanchez notes that there are functional and thematic reasons for such a set. “We couldn’t get caught up in using a turntable, or in questions of whether to bring on a chair or a bed,” Sanchez said. “Verisimilitude is a slippery slope, and we need to be able to move quickly without trying to recreate the many settings in which this story unfolds.” Teale’s fast-moving script includes 38 scenes, and still necessarily leaves a lot out from Brontë’s long novel. “The audience will learn where we are through behavior and dialogue rather than through what they see from the physical set,” Sanchez said of this non-naturalistic approach to storytelling. “Actors will sing songs. They’ll play instruments; percussion, for example, will convey Jane’s heartbeat. Movement will convey some of what she feels.” Sanchez envisions the abstract, modern set as reflecting something of who Jane appears to be: Plain, seemingly featureless, empty and waiting for others to fill in the details. The naturalistic clothing underscores all the ways Jane and other Victorian women are confined. The cast’s movement and music will suggest what Jane feels and cannot express. In very different ways, the three plays Sanchez previously directed for the Rep – “The Diary of Anne Frank” (2012), “Noises Off” (2013) and “Harvey” (2014) – each reflect tensions similar to those one sees in “Jane Eyre”: Between necessity and invention. Rule and spontaneity. The expected and the surprising. Convention and freedom.
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