Review: The Turn Of The Screw (Queen's Theatre Hornchurch)

Review by Izzy Tierney

⭐️⭐️

Ghost stories never go out of fashion. There's something universally unsettling about the inability to truly know what life after death entails, and worse, whether the living can in fact be haunted and terrorised by those who have passed away. It's therefore no surprise that this Victorian novella is still being adapted into various forms of media, with Netflix's hit show ‘The Haunting of Bly Manor’ being released only four years ago. Successful source material doesn't guarantee a satisfying show though which is unfortunately the case with this production.

Originally written in 1898 by Henry James, The Turn of The Screw follows a newly appointed governess who begins to believe the orphaned children in her care are being haunted and possessed by two deceased employees: their previous governess and her lover. The original story is set in the 1800s, however Rebecca Lenkiewicz's adaptation takes us to 1989 where the kids have a walkman and you can see Top of the Pops on the TV. The reason for bringing the story into the late twentieth century is unclear, a theme unfortunately shared by many other narrative decisions.

I have not read the original novella so the characters were brand new to me, yet by the time I left the theatre I still didn't feel like I knew them all that well. There are many things referenced or alluded to throughout the play which could give a good insight into a character's backstory or motivations but they're never explored any further, rendering them slightly pointless. For example, the governess is upset after she receives a letter from her father, but we never find out why she's upset or why her relationship with her father is relevant, all we learn is that she doesn't miss him. This example is a minor thing that ultimately doesn't affect the plot, but when there are multiple similar instances, it leaves you with unnecessary questions you didn't need to be asking. I can't help but wish more time had been spent deepening the audience's understanding of the characters instead of the opening scene, where we watch the children's uncle (Sackville) interview the governess for far too long with very little reward.

The final scene also doesn't deliver the punch it should, hindered by the absence of a strong connection with the characters. It's an ambiguous ending that does leave the audience discussing their beliefs after as to what might have happened, but without the emotional impact it deserves.

Bringing plenty of punch though are James Akka and Lexine Lee with their performances as 12-year old Miles and 9-year old Flora. Akka is charismatic enough to remain likeable even after his angry outbursts, where he hurls insults at the governess. His comedic timing is excellent and his witty remarks are delivered so brilliantly that you can't help but laugh at the condescending Britishness of it. Lee's Flora is almost the opposite of Miles; bouncing around with an insatiable curiosity for the world around her. She fires question after question at the governess in a way that perfectly encapsulates the unwavering inquisitiveness of a bored child. Both do a fantastic job at playing children and the chemistry between them makes them believable as a loving brother and sister.

An interesting portrayal is that of Sackville by Michael Joel Bartelle, who does well at conveying an undertone of creepiness below his confidence. However, after asking for the governess’ hand so he can “read her palm” and flirting with her as he's talking about his dead sister and orphaned niece and nephew during what is supposed to be a professional interview, she thinks he's charming and hopes he'll come to visit her and the children. Maybe the governess and I simply have different tastes?

Completing the cast is Kristin McIlquham as Mrs Grose, a longtime servant of the Bly household who loves the children and is very protective of them, and Siubhan Harrison as the governess. McIlquham gives a good mix of warmth and sarcasm in her interactions with the children, while Harrison does a solid job at showing her instant adoration of them. The cast are able to make the material compelling when the scenes are more relaxed and there's some comedy, but struggle to make the dramatic, high tension scenes land, meaning the emotional and scary parts of the show often fall flat.

This also isn't helped by the vastness of the stage which doesn't invoke any sense of claustrophobia that a smaller, more intimate set would. However, Stella Blackman's set design works well in other aspects. The house is a long rectangle slab of concrete on an incline, with earth at the lower end leading to a bridge that enables the actors to walk into the audience. On the higher end is a large window which lends itself perfectly to the power imbalance between the governess and the ghosts she fears looking down at her through the window.

I did not feel that same fear sadly, confirmed by a distinct lack of jumps from someone notorious for jumping at literally anything and everything. Whilst I had a pleasant evening, pleasant isn't the word I was expecting nor hoping to use for a “Halloween thriller and psychological mystery”. There may be no better time for a ghost story than the month of Halloween, but I'm disappointed to say that The Turn of The Screw felt more like a trick than a treat.

The Turn of The Screw plays at Queen’s Theatre Hornchurch until 26th October. Tickets from www.queens-theatre.co.uk 

Photos by Manuel Harlan