Performances under Deborah Warner’s overall leadership have become a highlight of Bath’s theatrical year: the current production of Britten’s chamber opera ‘The Turn of the Screw’ reaches new heights in terms of musical and dramatic quality.
Maia Greaves as Flora and Anna Cavalerio as The Governess | Photo © Ellie Kurttz
Some ingenuity was needed to bring the piece to the Ustinov Studio. The original 13-piece orchestra was reduced to 3 players.
Two pianos, under the more-than-capable hands of Aleksandra Myslek and Henry Websdale formed the upstage part of a minimalist set and were enhanced by the colours of celeste, as well as Carys Gittins’ flute, alto flute and piccolo. Glittering sounds abounded, in conjunction with a typically Brittenesque combination of mostly high voices.
Thanks to the intimate performing space and the diction of the six singers, the full menace and darkness of Henry James’s story came across with full force.
This was a well-nigh flawless cast: the crucial role of Peter Quint was chillingly depicted by the expressive, other-worldly tenor of Xavier Hetherington, while Monday’s Governess Anna Cavaliero’s was a deeply affecting portrayal of gradual disintegration.
The two children at the centre of the drama were played this evening by Maia Greaves (Flora) and Oliver Michael (Miles), both talented beyond their years and unsettlingly believable.
At times the full vocal ensemble overpowered the players, and Emma Bell was perhaps over-dominant as the housekeeper Mrs Grose. One gripe on the instrumental front: the excellent players were let down by less-than-ideal pianos noticeably in need of tuning.
The season continues until 22nd December: I recommend the experience wholeheartedly!
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Reviewer: Niall Hoskin
