TURN OF THE SCREW The Age THE TURN OF THE SCREW

By Michael Shmith, 12 July 2010

IN HIS preface to The Turn of the Screw, Henry James wrote that the reader must work at understanding the story: “Make him think the evil, make him think of it for himself, and you are released from weak specifications.” Benjamin Britten and his librettist Myfanwy Piper followed the same advice in their 1954 operatic adaptation of James’ Gothic tale; it was good to see, director Kate Cherry has followed suit in her intense and telling production of this superlative piece.

Cherry maintains the Victorian period, but strips it of all but the most important props: a doll’s house version of Bly (the house in which most of the action takes place), and a few shifting items of furniture are about the only distractions. Christina Smith’s bare, dark single set, placed within a William Morris-inspired frame, could be inside the bellows of an antique camera - perhaps a stereoscope, given the twin ghost-recesses at the back of the stage. Indeed, just as an aperture narrows, the setting focuses the drama towards its terrible conclusion. Matt Scott’s atmospheric lighting subtly emphasised the sinisterly effect.

Paul Kildea conducted the dozen players in a performance that matched exactly the mood on stage. A few firstnight blemishes of intonation will work themselves out; but the instrumentalists were, for the most part, inside the music.

Danielle Calder, as the Governess, gained confidence and vocal power as the night went on, essaying well her character’s curiosity and gathering determination.

Maxine Montgomery was a fine Mrs Grose. The ghostly Peter Quint was finely sung by James Egglestone, who doubled as the Prologue; but Melanie Adams’ Miss Jessel was under-voiced. Takshin Fernando and Georgina Darvidis were vocally and dramatically affecting as Miles and Flora. This is a production of which Victorian Opera can be proud.