The Turn of the Screw

Published Wednesday 28 November 2007 at 13:25 by David Gutman

Staged initially as the Mariinsky (Kirov) Theatre’s first English-language show, David McVicar’s much-lauded production arrives now at ENO equipped with surtitles. Performances are dramatically convincing and cleanly articulated, yet there are bound to be problems for more distant punters. Unavoidably perhaps, the disturbing intimacy of Britten’s original conception has been ditched in favour of something grander. The stage is black and bare, with lighting and costumes defiantly monochrome. Only (rather noisy) stylized sliding panels and occasional falling leaves impart an autumnal specificity. The foreground is occupied by bed, writing table or piano, plus, ever-present, a Wozzeck-ish hobby horse. This is not one of those readings in which it is possible to believe that the ghosts are incorporeal projections of the Governess’ own fear and phobias. Here they handle props and make floors creak, while Quint has a funny walk, more damaged than commanding. McVicar presumably wants to make tangible the forces of good and evil that battle for the children’s souls.

Like the evening as a whole, Rebecca Evans’ Governess takes a while to warm up. Vocally lightweight, she is heartbreaking by the close to cap a highly physical performance of carefully ratcheted intensity. Ann Murray’s Mrs Grose is a big dramatic presence, even if the voice has lost some of its former quality and focus. Garry Walker conducts a select group of 13 players with diligence.

Difficulties remain, however. Lighting designer Adam Silverman’s audacious effects make it impossible to make out much in the way of facial expressions and the contrasting blasts of white light are scarcely designed to comfort the eye. The spectacle is arresting but remote - one is not spooked.