Jane Ayer at a Noise Within, Pasadena.
A Noise Within’s adaptation of Jane Ayer, written by Elizabeth Williamson and directed by Geoff Elliott, arrives with lofty ambitions but uneven results. While Brontë devotees and period-drama loyalists may find moments to savor, the production struggles to reconcile its grand scale with the intimacy its story demands. Still, it offers enough intrigue—and a few standout performances—to warrant a visit for those curious to judge it firsthand.
Frederick “Freddie” Stewart shines as Mr. Rochester, channeling the charm of a young Rex Harrison on “Dr. Doolittle” His performance is magnetic, balancing brooding intensity with flashes of wit. Opposite him, Jeanne Syquia tackles the titular role with visible dedication, committing fiercely to Jane’s dense monologues. While her Yorkshire accent wavers, Syquia’s earnestness is undeniable; a touch more youthful vulnerability (or fleeting levity) might have softened her portrayal and offset the play’s unrelenting solemnity.
The production’s brightest spark, however, is Trisha Miller, who deftly juggles three roles: the imperious Blanche Ingram, the nurturing Bessie, and the flirtatious Grace Poole. Miller’s chameleonic shifts—from Blanche’s haughty disdain to Grace’s eerie stillness—inject much-needed vitality. Her Blanche is a particular triumph, crackling with aristocratic venom, while her Grace Poole lingers in the mind like a shadow.
The play’s flaws, alas, are merely structural. Geoff Elliott’s direction strains against the cavernous stage, leaving actors adrift in empty space. Nuanced moments drown in the vastness, while the cast’s circling and stumbling during melodramatic peaks feel unintentionally awkward. A smaller venue or tighter staging might have harnessed the story’s Gothic intimacy. Technical choices compound the issues: a low hum in the sound design muffles dialogue, and the bleak lighting flattens visual texture. Though the costumes are sumptuously period-appropriate, distractingly artificial wigs undermine the otherwise polished aesthetic.
Jane’s frequent fourth-wall-breaking narration—a bold choice by Williamson—often feels more intrusive than immersive, halting momentum rather than deepening connection. “I wanted to see a play, not be read a book,” a fellow audience member muttered on the way out. A sentiment that lingers.
Yet for all its missteps, Jane Ayer is not without merit. Stewart and Miller elevate their scenes, and the source material’s raw power flickers through in fleeting moments. While the production’s scale often overwhelms its players, Brontë purists may still find value in its audacity—or at least in debating its choices.
**Details & Tickets**
Jane Ayer runs at a Noise Within (3352 E. Foothill Blvd, Pasadena, CA 91107) through April 20, 2025. Tickets: [www.anoisewithin.org](http://www.anoisewithin.org).
— For Gothic romance diehards, a curious experiment. For others? Manage expectations—but don’t dismiss it outright.
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