The Turn of the Screw (Victorian Opera), at Palais Theatre
Unquestionably dark and haunting, Benjamin Britten’s The Turn of the Screw paints a devastating picture of distress and, possibly, madness.
It concerns a governess appointed to look after two orphaned children on the strict condition that she never contact their guardian, an uncle too busy to take care of them.
Photos by Jeff Busby
Apprehensive about taking on the role, soon enough she warms to it because the youngsters – a boy and his elder sister – seem bright and responsive.
Still, let's just say, she is no Mary Poppins.
Troubled as she is that the boy is expelled from school for “causing injury to his friends”, she decides to do nothing about it.
And then she begins seeing a ghostly image, that of a former valet, now dead.
The housekeeper described him as having “dreadful ways”, including acting “free” with the boy.
The valet also allegedly had his way with the former governess, who left the house to die.
She too is now into the haunting business – being goaded by the valet – coming for the girl.
It is left to us to interpret whether these ghosts are supernatural forces or simply hallucinations emanating from the new governess’ fevered imagination.
The final reckoning is hardly a bed of roses.
Premiering in Venice in 1954, the chamber opera, composed by Benjamin Britten, with libretto by Myfanwy Piper, is based on Henry James’ 1898 novella.
It features atonal notes and dissonance, centred around variations to a 12-note theme.
The harmonic shifts create a sense of unease, which is pivotal to the plotting.
In short, it is what I would describe as a downbeat psychological thriller.
The action takes place in and around Bly, a country house in the east of England, in the middle of the 19th century.
All six performers, under the direction of Stuart Maunder AM, readily buy into the shadowy premise, which starts with a story-led prologue.
The baton is with Paul Kildea, who leads Orchestra Victoria adeptly.
As the governess, soprano Rachelle Durkin excels vocally and with her apprehensive persona.
Sharon Prero is excellent too as the housekeeper who has seen too much.
Kanen Breen and Michaela Cadwgan, who play the ghostly Peter Quint and Miss Jessel, introduce a genuine fear factor and sense of foreboding.
Breen’s “histrionics” are particularly noteworthy.
High praise, indeed, for the youngsters who are so integral to the story.
Genevieve Gray is such a talent as orphan Flora, and she is allowed to flourish, while Oliver Thadoe Naing makes an auspicious Victorian Opera debut.
He is positively stoic as Flora’s “set upon” brother, Miles. I dare say it is a role that would give you nightmares, but Oliver appears to take it all in his stride.
Roger Kirk’s restrained, blackened staging suits the piece perfectly.
I was taken by the lake scenes, nicely realised in conjunction with Trudy Dalgleish’s cleverly conceived lighting design.
Kirk kicks further goals with his costume design – the elegant greys, blacks and whites of the “live” performers contrasting with the striking greens of the ghosts.
I greatly appreciated the creativity involved.
Stuart Maunder has left a strong footprint with a work that is decidedly disquieting, just as The Turn of the Screw was intended.
Two hours 20 minutes, including interval, it is on again at Palais Theatre on 1st October, 2026.
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