Tuesday, January 18, 2005

Classic ghost story gets twist on stage

Stratton Players redo Henry James

THEATER REVIEW

By James A. Karis II TELEGRAM & GAZETTE REVIEWER

‘The Turn of the Screw’

Rating: Good job

By Jack Neary, adapted from the story by Henry James, direction and set design by Victor Dupuis, stage management by Bob Blake, set construction by Bob Blake and Hal Smith, costumes by Amy Newberg and Sharon DeCicco. Performances on Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through Jan. 30 at The Stratton Playhouse, 60 Wallace Ave., Fitchburg.

With Lara Fox, Michael Govang, Liz Borg, Meredith Ryer, Anthony DeCicco, Mike Ciccolella and Carolyn Salter.

The Stratton Players offer a world premiere with a vintage look, in Jack Neary’s theatrical adaptation of Henry James’ classic ghost story, “The Turn of the Screw.”

The show’s greatest achievement is undoubtedly the fact that a brand-new adaptation of a venerable horror story can shock a modern audience, while remaining consistent with the heritage of a theater company that has been active since the first half of the 20th century.

While perusing the walls of the Stratton Playhouse, audiences will find dozens of photos from past productions, some dating back several decades. “The Turn of the Screw” has a look and feel of a play the company might have produced at any time in its history — if, of course, someone had adapted it to the stage before now. The cast is small; the set design is simple; the costumes effectively capture the period in which the story is set, 1880.

We begin with a young woman (Lara Fox) who is interviewing for a governess position with the master (Michael Govang) of Bly Estate. After accepting the job under the mysterious condition that the master will not live at the estate and must not be contacted for any reason regarding his niece or nephew, the new governess meets the master’s niece, Flora (Meredith Ryer), and — after being expelled from boarding school — his nephew, Miles (Anthony DeCicco).

After seeing two shadowy figures prowling around the manor’s grounds, the governess questions the maid, Mrs. Grose (Liz Borg), who identifies them as former employees who have died. The governess becomes convinced that she is seeing ghosts who have come to harm Flora and Miles, as she begins a desperate effort to protect the children ... and herself.

Fox is excellent as the governess, projecting both authority and vulnerability when she needs to. The playbill indicates the actress is currently majoring in theater, which is good news; she clearly has a bright future with the craft.

As the master, Govang is hesitant and lacking confidence, which, intentional or not, actually makes his character creepier. The two children balance each other well — Ryer’s exuberant Flora offsetting De-Cicco’s devious Miles.

Though regarded as one of the greatest ghost stories ever written, James’ novella has been criticized for its slow pacing, particularly for modern readers seeking more action and gore. The pacing issue never plagues Stratton’s show — thanks to Victor Dupuis’ direction — which progresses swiftly, allowing just enough dramatic tension to develop before moving to the next scene.

The story’s ending is famously ambiguous and will have audiences wondering what they just saw. Did the ghosts really exist or was the governess insane? Perhaps the beauty lies in the possibility of either, or even both — because, after all, the insane are not necessarily blind to dead people.