“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.
Provocative drama affecting real change in mental health treatment
Hearing Things explores the dilemmas of psychiatry from the points of view of patients, relatives and staff. Based on experiences of psychiatrists and patients, the ‘healthy’ and the ‘ill’, looking at how and if people heal and recover inside institutions.
Created using a unique collaborative process between patients, psychiatrists and mental health staff, Playing ON have drawn together the stories of those receiving and providing mental health care. Hearing Things is the result of that work – a process which has instigated real change in the lives of patients.
THEATRE AS TREATMENT
Playing ON aimed to demonstrate to hospital staff how theatre-devising techniques can be used to build rapport and create empathy among service users.
As part of the writing process, staff and patients at the Maudsley Hospital in south London took part in a drama programme in April 2014. Improvisations were used as material for the finished play, with clinicians and those receiving treatment swapping roles. As a direct result of these workshops, two patient’s progress was so great that doctors allowed their early discharge.
“Without a quantitative evaluation using any rating scales, what we know is that virtually all the patients who were engaged in the six-week workshop programme were discharged at about the same time and in that respect I think that the performance clearly accelerated their discharge. I know in two definite cases where I can clearly say the performance led to me discharging them.” Dr Dele Olajide, consultant psychiatrist.
This follows Playing ON’s core mission – marrying professional theatre and socially engaged practice.
Jim Pope and Philip Osment are joint artistic directors of Playing ON, who make quality theatre with communities whose voices are seldom heard.
Jim Pope is CEO of Playing ON. He is an actor, director and teacher. He has directed Hearing Things (which he will also perform in) and designed a programme of drama to bring together psychiatrists and mental health service users. He created the Playing Up programme for the National Youth Theatre, which delivers accredited professional drama training to NEET young people and has worked extensively in a range of settings such as prisons, psychiatric hospitals and homeless organisations.
Philip is a multi-award winning playwright, dramaturg and teacher. He has written and translated plays for a wide range of organisations including the RSC, BBC Radio and the Royal Court. His plays include Mad Blud (Theatre Royal Stratford East); WHOLE (20 Stories High) and Buried Alive (Hampstead Theatre).
CAST
Jeanette Rourke/ Hope, Janet, Grace
Daniel Ward / Innocent, Patrick
Jim Pope / Nicholas
CREATIVE TEAM
Philip Osment/Writer
Jim Pope/Director
Miriam Nabarro/Set designer
Becky Smith/Sound designer
To keep up to date with the latest news on this and many other shows, please follow thespyinthestalls on Twitter by clicking the image below.
Please #SupportLiveTheatre by sharing this article:
