New Century's 'Turn of the Screw' spine-chilling

 BY ERIC SEAN WELD

Daily Hampshire Gazette, June 20, 2006

NORTHAMPTON - Is she crazy? Or are the spirits of the governess's predecessors truly haunting the grounds of Bly, the 19-century estate in Henry James' spooky novella 'The Turn of the Screw'?

That's the main debate coursing through the 100-year-old story, and it is made no less nebulous in a sharp, spine-chilling stage adaptation by Jack Neary that opened last week at the New Century Theatre in the Mendenhall Center at Smith College, kicking off the company's 16th summer season.

Neary, a co-founder of the theater company, also directs the play, which runs through July 2. Neary gives obvious and commendable attention to James' intent to straddle the fence of explanation and keep audiences wondering whether or not the governess, the story's protagonist, is losing her marbles or really seeing ghosts. Her charges, the young siblings Flora and Miles, don't seem to see or hear the ethereal figures that appear to their governess. Or do they?

Either way, the specter of ghosts wandering the grounds haunts everyone and builds to a stirring and disturbing climax that leaves the main mystery unsolved. In the end, it doesn't much matter whether or not the unnamed governess was crazy - her damage is done.

Considering the legendary verbosity in which James indulged, Neary's stage interpretation of 'The Turn of the Screw' is surprisingly succinct and linear. Neary's creativity in molding scenes from the narrative format to live theater adds a rhythmic steadiness to the production that maintains the plot's momentum without losing essential story elements. At one point in the second act, when the ghost of Miss Jessel, the governess's dead predecessor, appears to the governess in the chalkboard of the children's study, the eeriness is palpable and well-timed.

Inevitably, and especially with a writer like James, some components of the original story are sacrificed in the pared stage script. In Neary's adaptation, the relationship between the governess and her two charges never develops into a close affection, as James portrays it over several months. In the play's compacted time frame, the governess and the children, after favorable first impressions, become almost immediately suspicious of one another and the tension between them only increases.

Also, the translation from page to stage - the act of showing live what the words illustrate - requires a commitment to interpretation that the original work of prose can leave unattended. In James' original story, it's left for the reader to opine what took place at Bly. And while Neary does an admirable job of providing support for both sides of the main mystery, his final added scene might close the deal for some, and he leaves little doubt as to who is responsible for Miles' ultimate fate.

Still, James' novella is a ghost story, its characters and their relationships are constructed around that premise, and a prominent strength of Neary's adaptation is its success in corporealizing the morose, spooky feel of the original.

Part of the credit for that success belongs to New Century's performers. In particular, Jeannine Haas as Mrs. Grose, the innocent housekeeper at Bly, gives a performance that anchors the play's progression, both in her contrasting sanity, and in her consistency and commitment to her character's persona.

Birgit Huppuch is well-cast as the governess. From the play's first scene, she foreshadows the potential for her downward turn, betraying a conflicted tension in her expression and struggling to exorcise its dominance. In a challenging role that requires a total release of restraint and inhibition, Huppuch masterfully muscles control over her character's destruction until finally throwing open the gates and relinquishing her hold, as necessary.

Playing the children, Miles and Flora, Seth Olsen and Becca Stevens are outstanding, particularly Olsen in a multi-tiered role. The two actors' exceeding cuteness could compensate for a lack of artistic seasoning, but it only adds to their presence and impressive stage poise. Already at age 11 and 12, respectively, both child actors have a record of thespian experience, and it shows in this production.

Staging 'The Turn of the Screw' is a bold undertaking. Making people laugh in theater is difficult enough (and Neary has proved repeatedly that he can do that) - making them feel genuinely spooked is even harder. This production pulls it off with an evening's worth of startles, spine-tingles and a climax of absolute horror.

Be prepared to be scared.

'Turn of the Screw' runs through July 2, with shows Tuesdays through Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. Performances take place in Theatre 14 in Smith College's Mendenhall Center on Green Street, Northampton. Tickets are: $28 general seating; $26 seniors; $14 student rush tickets available same day at the door. For more information and tickets, call 585-3220.

IN THE SPOTLIGHT

June 16, 2006

New Century Theatre

The Turn of the Screw

Mendenhall Center for the Performing Arts

at Smith College

Northampton MA

Box Office (413) 587-3933

June 15 through July 2, 2006

By Donna Bailey-Thompson

A spine-tingling drama, punctuated with heart-stopping moments, launches the summer theater season. Jack Neary’s adaptation and expert direction of Henry James’ eerie "The Turn of the Screw" is a psychological thriller that poses more questions than it answers. This ghost story gives audiences more than they bargained for. Move over Stephen King.

A fine cast enlivens a story that is deceptively simple. The emotionally stunted bachelor guardian (Patrick Tango) of two orphaned siblings, both wonderfully perfect and sinister (Becca Stevens and Seth Olsen) hires a conscientious, eventually distraught governess (Birgit Huppuch). Representing a small army of retainers is the housekeeper, loyal to her class but conflicted (Jeannine Haas). Weave in the recently deceased former governess (Laura Lezon) and man servant (Phil Kilbourne) and the plot thickens.

Mind games, the mixture of angelic and evil auras – creepy, spooky – demands full attention. Huppuch’s portrayal of a young woman desperately fighting to hang onto her sanity while trying to protect the children is chillingly convincing.

Set in England towards the end of the 19th century, the country estate with its iron fencing exudes Victorian elegance. The mansard roof features a stylized dormer; the tri-level interior – sitting room, the children’s school room, a bedroom – all with tall, multi-pane windows – bespeaks wealth and mystery. The design of the set and lighting (Daniel D. Rist) and costumes (Elaine Bergeron) complement the script. The imaginative sound designed by Peter Nabut – primarily piano selections – furthers and accentuates the action.

Although the governess seems to be the only one who sees the ghosts, and playgoers may question if they are real or imagined, the fact remains that this is a tale of terror.

The season continues with Tennessee Williams’ "The Glass Menagerie" (July 6-16); "Sight Unseen" by Donald Marguilies (July 20-30); and "The Sisters Rosensweig" by Wendy Wasserstein (August 3-13).