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Culture Theatre

The Turn of the Screw

THE TURN OF THE SCREW adapted from Henry James’s story by Jeffrey Hatch, directed by Vikki Anderson (DVxT). At Campbell House Museum (160 Queen West). To November 7, Monday-Saturday 8:30 pm, matinees Wednesday and Thursday 1 pm. Pwyc-$35. 416-504-3898. See listing. Rating: NNNN


There’s a rumour that the historic Campbell House Museum, at University and Queen, is haunted.

You’ll believe it after seeing an environmental production of The Turn Of The Screw there.

The Henry James story involves a governess, hired by a man with whom she becomes infatuated, to care for his young charges Miles and Flora in an isolated English country house. Convinced that the ghosts of the former governess and groom are trying to make contact by possessing the children, she plans to foil their schemes.

Director Vikki Anderson’s production takes the audience through three floors of Campbell House, from the basement kitchen with its homey fireplace aroma to an upstairs drawing room, where the final action plays out.

Her use of the impressive building, often exciting, relies on lit as well as darkened spaces, though sometimes being in a crowd dissipates the fear that the story intends to conjure.

And storytelling it is, with the two actors at times relating the action and at others playing out the narrative. Christine Horne as the unnamed governess and Clinton Walker in a quartet of roles expertly evoke the people caught in this increasingly creepy story, given an added period touch by A.W. Nadine Grant’s costumes.

Horne’s governess, a self-admitted romantic, is determined to resolve the situation and becomes more frantic as events spin out of control. It’s a great touch to have Walker playing all the others, from the prattling housekeeper to more menacing figures. Once the governess falls in love with the man who hires her, it’s understandable that he becomes visually associated with everyone else in her world.

Jeffrey Hatcher’s adaptation underlines the sensuality in the material but also has its flaws he turns Flora, for instance, into an invisible figure and also makes her mute. Anderson’s found an ingenious way to present the girl, but Flora’s actual presence (and voice) would enrich the tale.

Toronto theatregoers can choose any of several ghostly productions in town this week in addition to The Turn Of The Screw, the first two parts of Theatrefront’s The Mill run through Saturday (see review of Part 1 here and of Part 2 here). In all three shows, the designers are vital in creating atmosphere, and here John Gzowski’s eerie soundscape works wonders. The use of candlelight is suggestive, too. Lara Azzopardi’s intimate video sometimes opens up the world of the play though occasionally feels forced.

But the success of this DVxT production ultimately rests with the actors. Walker and Horne make it a riveting, intense production, especially as the narrative grows toward its climax. Watching them perform up close provides that extra theatrical turn of the screw.

Best proof of that? When the characters look at or point to something mysterious behind us – outside a window or in a corner of a room – we look not just the first time but also the fifth, caught up in the power of the tale.

jonkap@nowtoronto.com[rssbreak]

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