Adapted by Jeffrey Hatcher
At Primary Stages
Reviewed by David Roberts for Theatre Reviews Limited
Every
moment in Primary Stages' "The Turn of the Screw" is, in fact,
one turn of the psyche's "suspense screw," teasing the mind with
information and images, challenging the audience member to determine what
facts are important and which are just there to heckle and titillate the
imagination. One wonders, after seeing this new production, "Who
is the 'good guy?'" "Who is the 'bad guy?'" "Is the
bad guy even a guy?" "Is what the 'bad one' does really
so bad after all?"Jeffrey Hatcher's adaptation of the Henry James story is not the typical ghost story replete with creepy sounds, spooky lighting, and unexpected loud noises. This is subtle ghost story-telling at its best. The audience works as hard as the cast at understanding what is going on off and on stage. The actors (Enid Graham and Rocco Sisto) and the creative team serve a full course meal of psychological suspense and "brain tingling" wonderment. For example, why does "The Master" of Bly Manor not want to be troubled by the new governess about the lives of his sister's children? He states clearly that the qualities he needs for his nephew and niece are "courage, kindness, and a pure heart." He states even more clearly that his "main condition" is "never trouble me." Why would a governess accept a position under those conditions?
In fact, "The Master" psychologically seduces the governess into taking the position. And she, in turn, will need all her powers of metaphysical seduction to figure out what has happened at Bly Manor. What happened to her predecessor Jessed and her lover Peter? Why do they, though dead, still appear at Bly Manor? What is the relationship between these apparitions and the children? Why doesn't Flora speak? Why is Myles sent home from school? Who is that housekeeper, anyway?
The best way to understand, appreciate, and enjoy "The Turn of the Screw" is to allow yourself to be seduced. Sure, you'll try to figure out all the clues and out-guess the author and the adaptor. Of course, you'll expect more noise, different lighting, some creaks of doors and windows. Whether you get these effects or not, the important thing is to allow yourself to get into a state of suspension of disbelief enough to let the seduction happen. If you do, you will be surprised and you'll find yourself asking, perhaps days later, "Wait a minute! How much of what happened on the stage was "reality" and how much was in the imagination of the characters?" No answers given here. Maybe there are no answers at all.
Primary Stages is to be commended for bringing this adaptation to the stage and for assembling a first rate cast and creative team. Everything seems to be just enough here: careful direction (Melia Bensussen), appropriate set design (Christine Jones), costumes (Claudia Stephens), and lighting (Dan Kotlowitz) and &ndas;0 as always &ndas;0 great original music and sound design by David Van Tieghem. I can't imagine Enid Graham and Rocco Sisto being able to do a better job with Jeffrey Hatcher's adaptation of Henry James' story. Sometimes audiences and critics alike have to accept a piece of theatre for what it was meant to be and encourage others to make critical decisions for themselves.
I encourage you to see "The Turn of the Screw" and let your defenses down and be carried away into "the deep woods" of the mind.
Reviewed on Sunday, March 21, 1999 (Opened on Wednesday, March 24, 1999)
"THE TURN OF THE SCREW"
Adapted by Jeffrey Hatcher from the story by Henry James. Directed by Melia Bensussen. Set design by Christine Jones; costume design by Claudia Stephens; lighting design by Dan Kotlowitz; original music/sound design by David Van Tieghem; production manager, Tor Ekeland/Tina Fallon for CRUX. New York Premiere presented by Primary Stages, 354 West 45th Street between Eighth and Ninth Avenues, through Sunday, April 11. Performances are Tuesday through Friday at 8:00 p.m.; Saturday at 2:00 p.m. and 8:00 p.m.; and Sunday at 3:00 p.m. Single tickets are $35.00 for evening performances; $30.00 for matinees. Student tickets ($10.00) are available thirty minutes prior to curtain, subject to availability. For tickets and reservations call 212-333-4052.
WITH: Enid Graham (The Woman) and Rocco Sisto (The Man and others).
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