By Carol Davis
ENCINITAS, California— The Turn of the Screw by Henry James appeared in Collier’s weekly magazine with a prologue followed by a twelve-part ghost story. Between January and April of 1898 it appeared as a serial and was later published in book version. Then it was probably more frightening to read than it is to see. I saw the show several years ago.
It was the first time ever to see it performed on stage and I must admit that I did look over my shoulders more than once.
The story is about The Governess (Christy Yael) who is hired to take care of two children who have seen their share of trouble and governesses. The children’s parents are both dead and their Uncle or The Man (Sean Cox) responsible for them is unwilling to take care of them himself. Over time he hires a series of governesses to care for the children. During the interview with the new governess, the Man gives her complete rein over their supervision. And, she is not to contact him for any reason. (I smell trouble afoot)
The Boy Miles, 10, is at boarding school. He is a troublemaker and will, on this governess’s watch, be sent home from school for mischievous and unspeakable behavior. His younger sister Flora is 8 and she has not spoken a word since the last governess left. She is at home at the estate at Bly where the housekeeper, Mrs. Grose is watching her until the next governess takes over.
When the new governess arrives she gets an earful from Mrs. Grose (Cox) about Peter Quint the valet who was found dead at the foot of the tower, as was the previous governess, Miss Jessel. Grose really sets the tone for most of the haunting and ghostly visions the governess sees and hears in the dark of night. Also right after Miles is sent home from school, the governess begins to see and hear strange voices and visions. Is it in her imagination? Is it the power of suggestion? It seemed real while it was happening. Yet it is nonetheless, a ghost story and if you are so inclined, you too may be looking over your shoulders or peering out to see what you can see.
Jason Heil directs husband and wife team Christy Yael and Sean Cox, founders of Intrepid Shakespeare Company with enough nuance and balance to keep us shifting from the edges of our seats waffling between our own uncertainty and their reality. Yael stays in character as the English governess with Cox taking on the parts of Mrs. Grose, The Man and Miles in the Jeffrey Hatcher’s adaptation of the James novella.
Matt Scott’s set is a series of platforms and steps set back in the deep space of the performing arts theatre’s black box area. The stage is large enough, almost eerie in its emptiness to give one the sense of being in a haunted place. There is more than enough room for Cox, as the narrator and the Man to move about as the narration continues throughout.
It was somewhat distracting for yours truly trying to keep track of his footsteps and voice so I wouldn’t be surprised if I found him suddenly in back of me, but that’s my overactive imagination. Jason Beiber’s lighting design casts enough of a shadow to make everything look pretty eerie and the dance between Yael and Cox is convincing enough to make a believer of one.
Both take on the persona of the characters with not much more than an inflection, intonation, a move or gesture or a change in voice especially Cox, to indicate what character he is in at a given moment. Both are excellent in follow through and thoroughly believable as they inhabit their characters but with one caveat, Yael’s voice was lost in the cavernous hole of the black box and it was difficult to hear so much of her dialogue especially when her back was to the audience.
The mystery that unfolds on the stage in about seven or eight vignettes may not have happened, or maybe it did? It is after all based on letters written by one of the governesses. You be the judge.
After a brief break, L.A. actor Jason D. Rennie performed his solo piece of Edgar Allan Poe’s The Pit and the Pendulum. Now there’s a frightening situation. There are more ghosties and ghoulies roaming the stage in the Liggett Theatre throughout the week. Check them out at intrepidshakespeare.com.
See you at the theatre.
Dates: through April 15th
Organization: Intrepid Shakespeare
Phone: 760-652-5011
Production Type: Play
Where: 800 Santa Fe Drive, Encinitas 92024Ticket Prices: $25.
Web: intrepidshakespeare.com
Venue: Clayton E. Liggett Theatre/Performing Arts Center, San Dieguito Academy
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Davis is a San Diego-based theatre critic. She may be contacted at carol.davis@sdjewishworld.com