Review: The Turn of the Screw, Ustinov Studio, Theatre Royal Bath – ‘Beautifully haunting’

Did you ever think you’d watch an opera in a tiny ‘black box’ studio? If you know the Ustinov, the idea will seem mad. Aren’t operas for massive theatres, only to take place amidst vast purpose-built grandeur? Well – wow. I like my music but opera’s not something I seek out. But – again – wow.

If you love or like opera, you have to get a ticket. If you’re a bit resistant, I say, give this a try, because – well, here come all the reasons….

The Turn of the Screw is a properly creepy story. I mean, seriously under-your-skin level yuk. There’s no big ‘jump-scares’ – because it’s disturbingly worse than that.I genuinely worried what kind of dreams I would have.  It was an 1898 novella by Henry James and has been turned into no fewer than 12 films – The Innocents, The Haunting of Bly Manor, In a Dark Place, Through The Shadow, Presence of Mind, The Turning and a few called The Turn of The Screw). Without a doubt, this story is undeniably ‘sticky’.

Xavier Hetherington as Quint

A children’s governess (Sarah Gilford on press night – there are two alternating casts) is hired by an uncle, who doesn’t give too hoots, to look after two orphans, Flora and Miles (played by Maia Greaves and Oliver Michael). They’re currently  being cared for by the housekeeper Mrs Grose (Emma Bell). All is pastorally idyllic until the ghosts of their late father’s valet, Peter Quint, and previous governess, Miss Jessel, appear, to lure the children to be with them.  Exactly. It’s grim.

This production is remarkable. It is beautifully haunting in itself. Charlotte Henery’s set is stunning, turning the tiny Ustinov space into a liminal wonder-(under)-land, with a raised level pathway behind a truly inspired ‘veil’ that acts as both the windows of the house, and the veil between our world and ‘what lies beyond’. Musical director Henry Websdale and director Isabelle Kettle have empowered this excellent cast to create a completely absorbing story (which happens to be beautifully sung, a fact that you oddly start to forget).

Sarah Gilford as The Governess

The achievements of the cast are all noteworthy. Sarah Gilford’s Governess is totally believable. Her joy, fears, and even her relaxing by the lake (who can sing like that lying down?!) pull you into the heart of her terrible story. Oliver Michael’s ambivalent, sweet-and-creepy Miles is a joy to watch. Xavier Hetherington’s Peter Quint will haunt you for weeks.

Elin Pritchard as Miss Jessel makes you wish there was more of her, and Emma Bell’s Mrs Grose is just marvellous. The duets between the two pairs of women are beautifully done and show – for me – the best of modern opera.  And I pause to say it in writing about one so young, but Maia Greaves’ Flora is a delight. Her voice is strong and fascinating, and her acting equally engaging. She makes Flora a far more absorbing character than Britten has written her, and makes you hope the worlds of music and theatre look after this young talent well.

Oliver Michael as Miles and Maia Greaves as Flora

In short, I can’t recommend this enough. It’s unusual, haunting, beautiful, disturbing, and you will see talent – across the board – of the kind that is rare, even in the life of a theatre reviewer and occasional playwright. Take yourself: go.

Emma Bell as Mrs Grose

The Turn of the Screw is at the Ustinov Studio, Theatre Royal Bath from December 1-23 at 7.30pm, with 2.30pm matinee performances on 9,13, 20 and 23 (no evening shows on these days). Tickets are avaible at www.theatreroyal.org.uk.

All photos: Ellie Kurttz

Read more: Review: Twelve Angry Men, Theatre Royal Bath – ‘Genuinely electrifying’

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