The Turn of the Screw - Theatre Review

 Arcola Theatre, London

★★★★

 By Alex Brenner

The Arcola, in collaboration with Blackeyed Theatre, brings to the stage a hauntingly exciting retelling of Henry James’ classic novella, adapted by one of the greatest playwrights of our time. For those who enjoy the thrill of gothic horror and for those who appreciate delving into the darkness of the human psyche, this adaptation will have you raving about it long after it ends.

A young governess, fresh out of education, takes up the post at Bly Manor, where she’s to be responsible for orphaned siblings Miles and Flora. After receiving strict instructions from their uncle not to disturb him, our governess is left in a manor that seems to be getting more and more peculiar. Noises, people that no one else can see and the suspiciously quick dismissal of her attempts to find out about the past of the place lead the governess to realise that the house’s deep secrets are far more disturbing than she could ever imagine.

Though an adaptation, the changes are not really about the actual plot, but more about shifting the focus to the fragmented storytelling of a traumatised woman. Which, to be completely frank, feels quite familiar from another gothic adaptation by Morgan Lloyd Malcolm, Bram Stoker’s Dracula at the Lyric Hammersmith in 2025. Especially towards the end, the device of the looped narration is undeniably similar, taking away from the full effect The Turn of the Screw could have had.

Nicky Allpress’s direction focuses on themes of the split mind and flawed memory, with the occasional fright to keep you going, but mostly playing with the audience’s curiosity and deep unease the closer they are to satisfying that curiosity. The Man, played by Jim Fish, interrupts the governess’ story. He humiliates her, probes her, presents her to the audience as an unreliable narrator, which highlights how women have always struggled to be taken seriously. Although it’s an intriguing touch, it doesn’t seem to lead anywhere. Maybe that is its sole purpose, to have you asking questions and coming up with your own interpretations, rather than providing a fixed conclusion.

Amy Tara, as the governess, is so expressive and open in her portrayal of a mind that is falling apart, yet is determined amidst its fear. She carries the narration throughout with an array of palpable emotions that engage the audience’s sympathy. The two actors who play the siblings, Toby Beynon as Miles/Quint and Kathleen McAuley Irvine as Flora/Jessel, have the challenging task to portray both children and adults, both living beings and spirits. They succeed to suspend our disbelief and convey innocence and corruption in equal measure. Katy Slater plays Mrs. Grose, the housekeeper, and she dominates the stage with her stern demeanour, interestingly contrasting Tara’s animated performance with a precise stillness that convinces you that she knows more than she’s willing to disclose.

Regarding Oliver McNally’s lighting design, not only does it assist in the storytelling itself, separating between the governess’ time at Bly and her retelling of the events with the Man, but it also becomes part of the set itself. One moment, it creates a lake, in a beautiful sequence elevated by Mandy Gordon’s excellent movement direction; another, it creates otherworldly space for the spirits to come alive in. Hattie North’s eerie sound design transports you straight into Malcolm’s world, with the highlight being its simple, yet chilling piano and human breathing that creeps in.

This production shows that you don’t need large, complicated mechanisms and non-stop effects to engage your audience. James’ novella is a classic for a reason and the touches added by the creative team and the cast all come together to create a delightfully unsettling atmosphere, even with its enigmatic ending.