1:00 AM 19th February 2025
Amber Lewis Discusses Her Role As Bertha In Northern Ballet's Jane Eyre
In the first of three short interviews we hear from Northern Ballet dancers who speak on how they go about their preparation leading up to the performances and what they most enjoy about performing in Northern Ballet’s home city of Leeds.
They are preparing for one of literature’s most iconic heroines as she goes on a journey of resilience, romance and redemption as Northern Ballet’s critically acclaimed Jane Eyre which heads to Leeds Grand Theatre this spring from 14 – 22 March. Based on the novel by Charlotte Brontë, Northern Ballet will bring this beautiful love story to life with heart-stirring choreography and live music that captures the essence of her timeless tale.
First discussing her role is Amber Lewis.
Bertha Mason is such an enigmatic and intense character. How did you approach preparing for this role?
![Dreda Blow as Jane and Javier Torres as Mr Rochester in Jane Eyre (2016). Photo Caroline Holden]()
Dreda Blow as Jane and Javier Torres as Mr Rochester in Jane Eyre (2016). Photo Caroline Holden
First I read the novel to understand her character. From there I began rehearsals and worked with the staff to find Bertha’s voice through movement. Next will be working with Cathy on the finishing details of my interpretation.
Were there any particular aspects of Bertha’s character that you found especially challenging or inspiring to bring to life through dance?
I’d like the audience to sympathize with her which is challenging to voice through dance.
Bertha is often portrayed as both a victim and a villain. How do you see her, and how does your performance balance these perspectives?
I see Bertha as both. Mostly her choreography is wild and chaotic so the challenge will be showing her as a victim.
![Victoria Sibson as Bertha and Javier Torres as Mr Rochester in Jane Eyre (2016). Photo Caroline Holden]()
Victoria Sibson as Bertha and Javier Torres as Mr Rochester in Jane Eyre (2016). Photo Caroline Holden
The audience often has a strong emotional response to Bertha. What do you hope they feel or understand through your performance?
A woman misunderstood.
What do you think this production of Jane Eyre offers that sets it apart from other adaptations of the novel?
The opportunity to watch and experience story telling through movement.
What are you most looking forward to about performing Jane Eyre in Northern Ballet’s home city of Leeds?
We will be opening
Jane Eyre in Leeds and I always enjoy the excitement of opening week especially at home.
Northern Ballet have been performing in Nottingham for years. What do you most enjoy about the iconic city?
Nottingham is always such a wonderful city to visit. I often find myself thinking about the amazing Tough Mary’s Bakehouse. If I could move them to Leeds I would!
What do you most look forward to about performing at Sadler’s Wells in London?
Sadler’s Wells is filled with such rich dance history and when I visit I feel I’m adding to that.
![Javier Torres, Pippa Moore, Dreda Blow and Rachael Gillespie in Jane Eyre (2016).
Photo Caroline Holden]()
Javier Torres, Pippa Moore, Dreda Blow and Rachael Gillespie in Jane Eyre (2016).
Photo Caroline Holden
Jane Eyre will open at Leeds Grand Theatre on Friday 14 March before touring to Nottingham Theatre Royal,Sheffield Lyceum Theatre and London’s Sadler’s Wells, finishing with a five-day run at Norwich Theatre Royal from the 20 May. All venues will offer an audio-described performance to improve accessibility for those with visual impairments.
Visit northernballet.com to find out more and book tickets.
Jane Eyre was originally premièred by Northern Ballet in May 2016 and nominated for a South Bank Sky Arts Award in 2017. Jane Eyre is choreographed by internationally acclaimed British dance maker Cathy Marston whose recent credits include Snowblind for Atlanta Ballet and The Cellist for Ballet Zürich in 2023.
It is set to a score of original compositions and existing work compiled and arranged by composer Philip Feeney. Sets and costumes are designed by Patrick Kinmonth and lighting is designed by Alastair West, whose recent credits include Northern Ballet’s Casanova