“a piece of theatre which is both hauntingly familiar yet timeless”
Henry James’ The Turn of the Screw, first published in 1897, is a story that captures the zeitgeist of the late 19th Century. An era charmed by superstition, madness, and the early writings of Sigmund Freud, James’ novella is a tale of a house held together by belief, seduction, and childhood secrets. An unnamed governess travels to a country house to take care of two children, Flora and Miles, but soon shadows from the past return to disturb the idyllic setting.
Jeffrey Hatcher’s excellent adaptation, Directed by James O’Donnell, draws on the universal themes of innocence and corruption, and childhood terrors, creating a piece of theatre which is both hauntingly familiar yet timeless. On entering Omnibus Theatre’s intimate black box space the audience is confronted with a lone wingbacked armchair and a bookcase of old tomes, the set of all good storytelling, instantly drawing the audience in and setting the moody tone of the piece. The style of this minimalist set (Paul Lloyd), combined with simple yet sympathetic spotlighting (Simon Gethin Thomas), is sensitive to the era and allows focus for the naturalistic performances to shine through.
This two-hander is performed by Ruth Ollman, playing the Governess, and Nick Danan who skilfully takes on the roles of Master, Housekeeper, and the child Miles. Ollman gives a strong yet understated performance, lending the Governess a captivating and curious stillness. Despite scenes of heightened emotionality she never loses the audience by venturing into the realms of melodrama. Danan is mesmerising to watch, flawlessly flitting between the sweet and retiring Housekeeper and the seemingly sinister Miles, providing the audience with genuine chills. These transitions allow for the suspense to build and for tensions to be broken, giving the audience fleeting moments of psychological relief. The pair’s ability to add flashes of humour also provides contrast and lightness to this otherwise dark and troubling tale. Despite a few fumbled lines both actors gave compelling performances, using James’ lyrical language and a diary entry structure to lead the audience seamlessly through the twisted plot.
With a timeless tale, subtle staging and captivating performances, Strange Fish Theatre Company have produced a wickedly good yarn for modern day audiences.
