Review: The Turn of the Screw (Arcola Theatre)
Review by Phil McCullough
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After someone experiences a significant traumatic event, just how much can they really trust the fractured memories of what happened? In a new production of Henry James’s classic gothic novella, The Turn of the Screw is told through the eyes of a governess, as her tale unfolds, whose sanity and ability to act as a reliable narrator is in question. This ambiguity is central to the novel, but does this uncertainty really work in a theatrical setting?
Adapting a famous novel for the stage is a big undertaking, so has this production done justice to this classic tale? Written by Henry James in 1898, The Turn of the Screw is now regarded as a seminal work of gothic fiction, primarily because of its ambiguity. Centering on the tragic events that unfold at the country estate of Bly, after a new governess arrives, we never really know whether the paranormal activity she experiences is real or simply a figment of her imagination.
This new production of the story has been adapted for the stage by Olivier Award-winning writer Morgan Lloyd Malcolm, who has done an excellent job of adapting the novella. Less is more in this production, with the writing drip feeding the story, keeping the audience wanting more. The story is narrated by thenameless governess, as she retells the tragic events that unfolded at Bly to an unknown man. As he questions her, doubts about her sanity are raised by both the man and, ultimately, the audience. The action on stage then flashes back to the fateful events at the country estate, while throughout the production we return to the governess being interrogated. This is a strong narrative device as it stops the audience from becoming too carried away by her version of events and constantly makes them question whether what they are seeing is actually reliable. What is slightly frustrating is that the man never reveals his identity. He tells the governess that he is not a police officer or a lawyer, but who exactly is he? Could he be her conscience? We never find out, and that ambiguity leaves you wondering about his role long after the play has finished.
Nicky Allpress’s direction is strong, with a number of theatrical techniques used to enhance the psychological tension throughout the production. There are some nice touches from the auditorium lights flickering to thunder sound effects just before the start of the show, immediately setting the tone as soon as you walk in. The production then begins with a deafening scream that literally made me jump out of my seat and grabbed my attention by the throat. This tension is successfully sustained through engrossing storytelling and just the right mix of horror and psychological unease. It genuinely felt spine tingling when the governess and young Flora were sleeping, and anonymous hands crept into their beds, waking them both from their respective nightmares.
Amy Tara gives a powerful and convincing performance as the Governess. The show is cleverly crafted so that you sympathise with her point of view during the first part of the production. Tara makes her likeable and believable as a bright young woman trying to find her place in the world. However, as the Governess’s mental state begins to deteriorate, Tara gives a convincing performance of a woman on the edge of sanity while keeping you guessing about what is really happening. Kathleen McAuley Irvine plays young Flora and although it takes a few moments to adjust to seeing a grown adult playing a child, her mannerisms and performance are convincing. Toby Beynon makes his professional stage debut as Flora’s brother Miles and is suitably boyish and striking in the role. When Miles turns on the Governess, Beyton’s performance becomes powerful and commanding in the final scenes of the play. Katy Slater is professional yet surly as Mrs Grove and gives a strong and believable performance as the long-serving housekeeper.
Oliver McNally’s lighting design is particularly effective, and I loved how some of the lights flood edgeways through the panels at the rear of the stage, creating an eerie atmosphere, especially when smoke is used to create a tunnel of light. An excellent use of sound design by Hattie North creates a tense atmosphere that gradually becomes sinister and eerie. Sound, lighting and movement are used to maximum effect when they come together to create the sensation of being underwater and struggling not to drown. Illusionist Wayne Fox also adds some extra flair, with a particularly strong moment involvingMiles burning a letter.
Overall, all the elements of this production of The Turn of The Screw work incredibly well together, from the gripping adaptation to the smart direction and powerful performances, that I was on the edge of my seat throughout. Memory is constantly questioned, particularly the way the Governess remembers events and whether those memories can really be trusted. It raises some fascinating questions about how people remember traumatic events differently from how they may actually have happened. This is a strong production with powerful performances that breathe new life into a classic tale. Morgan Lloyd Malcolm has done an impressive job of adapting Henry James’s novella for the stage, while Nicky Allpress’s direction, the atmospheric sound and lighting and the unsettling performances combine to create a genuinely gripping theatrical experience.
The Turn of The Screw runs until 10th October at the Arcola Theatre. Tickets from:
Photos by Alex Brenner