Turn of the Screw
Perth Concert Hall
Tues 16 – Sat 20 Apr
Script: Stagecraft: Performance:
A young inexperienced governess with a fertile imagination fuelled by gothic horror potboilers; two precocious children, altogether too knowing, in her care; a rambling, isolated country house witness to a history of cruelty; preternatural occurrences and eerie noises in the night. Henry James’ 1898 horror novella is the archetypal haunting story. Or, at least that’s one reading. It could equally be the account of the young governess’s incipient ‘female hysteria’. The novella maintains the ambiguous nature of the events at the house and James leaves the reader to make up their own mind over the causes of the horror. It’s a satisfying read.
Mercury Theatre Colchester and Wolverhampton Grand Theatre’s production of Turn of the Screw, adapted by Tim Luscombe, whilst replete with enough terror, puts the cause of all the haunting malarky on the governess, played by Janet Dibley with maniacal poise. Confirmation bias from the homely but astonishingly dim-witted housekeeper Mrs Grose (Maggie McCarthy) propels the governess ever onwards in her attempt to save the children, Miles and Flora, from what she thinks is supernatural attack from the spectral visitations of the previous governess Miss Jessel and the diabolical ghost of Peter Quint, the former upstairs-man, who had, and seemingly still maintains, a corrupting influence on young Miles.
Luscombe’s treatment turns the action into a taught psychodrama, that pulls out many of the threads in James’ story, such as the suppressed sexuality of the tale, hinted at in the relationship between the governess and young Miles, and the nature of Quint’s corrupting influence on the boy. It’s unfortunate therefore that the dramatic energy begins to disappear in the second half, as it becomes apparent that the cause of all the disturbance really is the governess’s psychotic break. With the loss of ambiguity of the cause of the haunting, whether psychological or supernatural, much of the tension of the story is also lost. It’s a different terror, altogether human, that is portrayed in the closing scene. This is an intelligent production that delivers some shocking moments in an entertaining evening that occasionally misses a chance to terrify.
Review: Mark Mackenzie
Photography: Tom Grace