Interval with Eleanor Zeal

Ahead of Jane Eyre Convention arriving at The Bread and Roses Theatre this June before heading to the Edinburgh Fringe, I caught up with writer and performer Eleanor Zeal to discuss literary fandom, chaotic comedy, and the joy of watching passionate people completely lose perspective over a beloved book. Created by Theatre Caddis, this fast-paced farce promises bonnets, Brontë obsession, emotional breakdowns on the moors, and just the right amount of “minimal raunch.”

Where did the idea for Jane Eyre Convention first come from?

The idea for Jane Eyre Convention came from my wondering why there were so many productions, film and theatre, of Jane Eyre.

(I think it’s the second most produced novel after Frankenstein). I re-read it and it was clear; apart from being beautifully written, it combines a rags to riches plot with a love story and it champions the underdog. A winning combination. From there it was a natural leap to think of the convention; a place for fans to inhabit and become part of the story.

What is it about Jane Eyre that makes people so passionately obsessed with it?

I think people may be wildly obsessed because anyone and everyone can relate: the heroine is not beautiful but she has a very compelling voice, it involves suffering, death and endurance, the downtrodden win out in the end and It’s set in the very romantic Yorkshire moors.

As both writer and performer, how different is your relationship to the show onstage compared to on the page?

I think I imagine the performance as I write, much easier knowing who might play those characters too. The characters write their own lines to some extent but as a writer I try and keep an overview and of course stay faithful to the novel. I tend to forget about the writer when rehearsing until I notice something has been changed and then she comes back and explains why it was written the way it was written or makes a change.

The show sounds delightfully absurd, but there’s also genuine affection underneath the comedy. How important was emotional sincerity to the piece?

Emotional sincerity is key, we are laughing with and perhaps recognising we all have neuroses. The absurdity is a way of embracing the human.

Why do you think literary adaptations and book-inspired theatre continue to resonate so strongly with audiences?

I suppose some of the reasons for continuing resonance are the universality of themes and the containing nature of a novel aswell as romantic fiction having an enduring lure that speaks of our desire for happy ever afters. The stories are also very dramatic in nature.

How much pressure is there when tackling something as iconic as Jane Eyre?

I think if I’d been dong a straightforward adaptation, I’d have felt pressure to get it right but with this format I am guiding the characters who are choosing their favourite bits so I don’t really feel any pressure to please purists. What is chosen is more about the attendees/characters’ desires than anything.

Theatre Caddis has become known for eclectic, humorous work. How does this show fit into the company’s wider creative identity?

I think it fits well with previous work that uses humour primarily but also likes to make the occasional serious point. I think earlier work had more dark humour but I’ve had a lot of therapy so this is lighter! There is also the potentially mildly therapeutic element which I am curious to explore. Half the team are dramatherapists so we’re looking at that re our creative offer in the future.

Was there anything from the original novel that you desperately wanted to include but simply couldn’t fit in?

It was very hard choosing a few scenes from such a rich novel and if I could extend the piece, I might spend more time with the relationship between her and her cruel aunt Mrs Reed, whose husband adopted Jane on her parents’ death.

How physically demanding is the show? It sounds like controlled chaos.

Yes, the show is very physically demanding, non-stop rushing about and is indeed controlled chaos, carefully choreographed and managed. (I have also factored in some moments when I can sit down as am a bit older than the rest of the cast.)

Edinburgh audiences can be wonderfully unpredictable. How do you think Jane Eyre Convention will fit into the Fringe atmosphere?

I am hoping it is perfect Fringe material at an hour long, with a great story, endearing characters, humour and original in it’s own way. It did well at the Lambeth Fringe, very positive feedback so hoping to replicate that in Edinburgh.

What do you hope audiences who’ve never read Jane Eyre take away from the show?

I think the show can be appreciated without ever having read the novel and people will enjoy its’ farcical nature and fanatical characters. Maybe those who haven’t will be curious and go away and read it.

After spending so much time inside this world, do you think you now love Jane Eyre more, or slightly less?

I absolutely love Jane Eyre a lot more now than when I started when I would have said I preferred Jane Austen or George Elliot as writers.

I am so grateful to Charlotte Bronte for her characters, plot and scenes; how she has created them. Am in awe!

A huge thank you to Eleanor Zeal for taking the time to chat with us about Jane Eyre Convention. Equal parts literary love letter and gloriously unhinged comedy, the show sounds set to delight devoted Brontë fans and complete newcomers alike. Jane Eyre Convention runs at The Bread and Roses Theatre from 9–13 June before heading to the Edinburgh Fringe. Tickets are available via https://www.breadandrosestheatre.co.uk/whats-on

https://www.edfringe.com/tickets/whats-on/jane-eyre-convention