The Turn of the Screw review – Britten chamber opera is made even creepier

Opera Holland Park, London
This classroom setting suits the Holland Park stage, with strong performances from singers and instrumentalists alike

As if Britten's Turn of the Screw needed to be made any creepier, Annilese Miskimmon's new production turns it into a ghost story within a ghost story. The setting is now, or at least a few decades ago; Bly, the creaky country house of the story, has become a boys' boarding school, and the Prologue is sung by a teacher wearing a lab coat. The tenor Robin Tritschler looks uneasy, as well he might: in Miskimmon's concept this single classroom is the setting for every episode of Henry James's story, and when Tritschler and his pupils make brief, mute reappearances during the interludes, they brush past half a dozen ghosts.

It doesn't add much to our understanding of a story that is, anyway, intentionally elusive. But it works, because the classroom setting suits the wide, shallow stage of the Holland Park theatre, and because Miskimmon enables each of the singers to hold that stage so well. Elin Pritchard's rich-voiced Miss Jessel is able to sneak up on us at her first appearance because our attention is so completely focused on the others. The classroom cupboards, with their tall glass windows, that form most of the back wall of Leslie Travers's set, offer more opportunities for ghostly apparitions.

The whole thing has the virtue of simplicity; what it lacks, though, is domesticity. This space is entirely institutional and depersonalised – which plays against the fact that the ghosts' pursuit of the two children is very personal indeed.

Dominic Lynch and Rosie Lomas characterise the children brilliantly, suggesting a sapping of innocence that is already well under way. The US tenor Brenden Gunnell is a commanding but agile-voiced Peter Quint, Diana Montague a luxurious late stand-in as Mrs Grose, the housekeeper. Ellie Laugharne shines as the Governess, saving herself for the final moments, but her voice gleaming throughout, and the 13 instrumentalists, paced with the skill of long experience by Steuart Bedford, capture the score's understated, insinuating beauty.

• Until 12 July. Box office: 0300 999 1000. Venue: Opera Holland Park, London.

Contributor

Erica Jeal

The GuardianTramp

Related Content

Article image
Opera Holland Park: The Queen of Spades review – decrepit Countess rules over vampiric high society
Rodula Gaitanou’s adaptation, superbly sung and conducted, takes us to a shadowy, nightmarish St Petersburg full of fear, neurosis – and Cossack dancing

Tim Ashley

03, Aug, 2016 @11:10 AM

Falstaff – review
This is very funny, but its humour is at times disquietingly harsh, writes Tim Ashley

Tim Ashley

23, Jul, 2012 @4:35 PM

Don Pasquale – review
Nobody on the UK stage can mug their way through baritone patter with quite the panache of Donald Maxwell, writes Erica Jeal

Erica Jeal

09, Jun, 2011 @2:05 PM

La Wally – review
The dramaturgy of Alfredo Catalani's La Wally may be flawed, but Opera Holland Park coped admirably with its modern demands, writes Tim Ashley

Tim Ashley

01, Aug, 2011 @5:35 PM

L'Amico Fritz – review

Redone as a Rock Hudson-Doris Day romcom, Mascagni's opera is great fun, says Tim Ashley

Tim Ashley

12, Jun, 2011 @5:15 PM

Zanetto/Gianni Schicchi – review
Patricia Orr sings the title role beautifully in Mascagni's Zanetto, the latest in Holland Park's repertoire of lesser-known works, says Tim Ashley

Tim Ashley

24, Jun, 2012 @2:31 PM

The Turn of the Screw – review

A performance that stressed the supremacy of Britten's score made for a bittersweet farewell to Sir Colin Davis, writes Erica Jeal

Erica Jeal

17, Apr, 2013 @4:39 PM

Article image
The Turn of the Screw - review

Benjamin Britten's opera isn't director-proof after all, writes Andrew Clements

Andrew Clements

06, Oct, 2010 @1:30 PM

Article image
Eugene Onegin – review
Daniel Slater's new production of Eugene Onegin, relocated to the time of the Russian revolution, lacks energy and dramatic nous, writes Andrew Clements

Andrew Clements

17, Jul, 2012 @5:30 PM

La Rondine – review

Tom Hawkes's production manages to give Puccini's lamentably escapist work a bit of depth, writes Martin Kettle

Martin Kettle

11, Jul, 2011 @8:30 PM