The Turn Of The Screw, Auckland NZ, 2019

NZ Opera Presents: The Turn Of The Screw

18th – 23rd October 2019
ASB Waterfront Theatre, Auckland, New Zealand.

Review by Sarah Kidd. Photography by Marty Melville.

New Zealand Opera’s inaugural production under the direction of Thomas de Mallet Burgess of Benjamin Britten’s The Turn of the Screw last night invited its audience to step into a ghost story steeped in both anxiety and psychological twists and turns.

Based on the 1858 novella by Henry James, The Turn of the Screw is the story of a young governess deployed to Bly house to instruct Miles and Flora, adolescent orphans whose absent Uncle has just three rules; never write to him about the siblings, never ask about the history of Bly House, and most importantly never abandon the children.

Performed at ASB Waterfront Theatre, the intimate structure of the venue beautifully fed into the claustrophobic nature and impending sense of doom that shadows the characters throughout. A chamber opera with an orchestra of just thirteen and cast of six allowing for the audience to focus on the characters whilst providing ample opportunity to appreciate the intriguing stage design and sumptuous vestures courtesy of set and costume designer Tracy Grant Lord. Sparse, with key objects such as a dolls house, toy sailing ship and grand piano that are revealed one by one from under their silken dust covers, each bathed in muted light, communicating a sense of unease.

Interestingly Act I begins with Miles – performed by the exemplary Alexandros Swallow – slowly writing the title of the opera in cursive on the wall, baritone Jared Holt emerging from the audience and strolling down to sit on the edge of the stage to deliver the prologue. The absence of the traditional raising of the curtain coupled with such a unique introduction hailing a more modern approach which should be commended.

Utilising the depth of the stage, our governess emerges from the darkness as a vision in turquoise, her vulnerability and anxiousness towards her new position conveyed poignantly by soprano Anna Leese who draws empathy with ease as she speaks of her fears of the children not liking her. Joined by the delightful Patricia Wright as Mrs Grose once she reaches Bly House, the governess blooms with confidence, Miles and Flora seemingly taking to her straight away. All seems well, until it doesn’t. Unnerving character traits of the children soon make themselves known, Flora smothering her doll to make it sleep and Miles’s unhealthy obsession with matches, all seemingly orchestrated by the spirits of the valet Peter Quint and former governess Miss Jessel.

It is at this point that the audience are invited to let their own imaginations write the story; Quints crimes never clearly defined but intoned to be of a viciously deviant nature, the existence of the ghosts themselves fact or merely the delusions of the governess crushed under the weight of her own insecurities; even the ending itself open for one’s own personal definition. The use of silhouettes and a succession of tilted beams that disappear into the darkness like the slow descent into madness providing the quintessential visual cues.

The Turn of the Screw is brimming with definitive highlights; the intoxicating duet between Jared Holt and soprano Madeleine Pierard at the start of Act II, the accomplished performances of both Alexa Harwood as Flora and Alexandros Swallow who are truly sublime, capturing both the exuberance and innocence of youth whilst simultaneously displaying aspects of their natures that raise serious concerns and an orchestra who under conductor Holly Mathieson provide the evocative and at times off kilter aural accompaniment.

However, the lack of subtitles may pose a problem for the less seasoned opera attendee; while the artistic decision to not provide them was made in order for the viewer to fully immerse themselves in both the production itself and the overall psychology of the performance – audiences invited to familiarise themselves with the synopsis beforehand – the diction of some of the cast members at times hinders comprehension despite it being performed in English. In an opera that is so genuinely well-constructed, and which perfectly encapsulates the overall theme of the narrative though, it is but a minor fault.

The Turn of the Screw offers a sui generis experience, its exceptional cast, magnificent stage design and thrilling supernatural narrative the ideal performance for both first time opera attendees and veterans alike.

Were you there at the ASB Waterfront Theatre for this spooky masterpiece? Or have you seen The Turn Of The Screw performed live somewhere else? Tell us about it in the comments below!

If you enjoyed this content, please consider donating towards the running of Ambient Light, covering expenses and allowing us to expand the coverage you love by visiting our PressPatron page.