Opera review: The Turn of the Screw, Hayes Theatre

When one thinks of opera venues in Sydney, the Sydney Opera House is of course the first place that comes to mind. After that, a distant second may be the City Recital Hall, where the Pinchgut Opera stages its Baroque productions.

The Hayes Theatre, where Benjamin Britten’s The Turn of the Screw is playing, wouldn’t be the first thought and there’s a good reason: this is the first time an opera has been staged there. Is it a fitting venue for opera? Well, we’ll get to that.

But first, before delving into the review, it should be noted that several characters are played alternately by two people, so the onstage talent depends on the performance date. This review pertains to the 29 August show.

For those unfamiliar with Britten’s 1954 masterpiece, The Turn of the Screw is one of his most intricate, unusual works. Based on the novella of the same name by Henry James, it’s a creepy affair in which a governess (Julie Lea Goodwin) is appointed to look after two children, Miles (Addy Robertson) and Flora (Sandy Leung), at a remote country manor. 

What the governess doesn’t know – at least, not at first – is that the children she ‘loves as her own’ are haunted by the ghosts of former house servant Peter Quint (Kanen Breen) and the former governess, Miss Jessel (Catherine Bouchier). 

The other principal character is the housekeeper, Mrs Grose (Ruth Strutt). 

As the opera begins, a musical theme is soon established by pianist and musical director Francis Greep. The story then unfolds over eight scenes (four each in two acts) with the theme returning in increasingly unsettling variations throughout the show, mirroring the tale as it becomes ever more disturbing.

Exactly what’s happened to the children in the past isn’t spelled out, but abuse – perhaps sexual in nature – is strongly implied.

Like many modern operas, the music here is largely atonal. It’s stark and jarring, but does have its more conventionally pleasant, melodic moments. 

Greep does a brilliant job developing and sustaining the soundtrack. Although having just one pianist backed by some pre-recorded sounds is perhaps taking the concept of a pared back chamber opera a little too far. 

Of course, the other musical element is the opera singers themselves, who are excellent without exception.  

The very small stage at the Hayes necessitates some inventive improvisation. The staging is moved around by the cast for each new scene; cast members essentially double up as stagehands throughout the show.

The lighting is integral to this production. Due to the limitations of the Hayes’ space, there’s more reliance than usual on the lighting to set the scene and its designer Morgan Moroney proves up to the task.

Costume and stage designer Emma Vine also excels. The costumes range from the conventional but well executed (for example, the clothing worn by the governess) to the unconventional and inspired. 

The look fashioned for Breen’s portrayal of Peter Quint is a case in point: Echo and the Bunnymen meets Bauhaus meets Peter Capaldi in Dr Who or The Devil’s Hour. 

The ghostly Miss Jessel’s outfits are even better. She looks terrifying and demented, recalling the wildest depictions of Kundry in Wagner’s masterwork, Parsifal. 

Then there are the Victorian dolls used by Robertson and Leung in their portrayals of Miles and Flora. A wonderfully off-the-wall approach. 

The only problem with the production is this: while it’s a novelty to see opera performed in such an intimate setting (this is a 111-seat venue – and a cramped one at that) and while The Turn of the Screw was designed by Benjamin Britten to be a chamber opera, the Hayes is too small for this production. 

Everything is just a bit too close and too loud. Audience members are liable to get a side of spittle with their opera (which was the case for this reviewer, in the second row), with their ears ringing for hours afterwards. 

To be fair, the same could be said about other productions staged at the Hayes. It’s also likely that financial considerations and a dearth of appropriate venues in Sydney for smaller scale operas factored into the decision to stage The Turn of the Screw here. 

Read: Book review: Woo Woo, Ella Baxter

But staging choices, including venues, have ramifications for a production and are relevant to a review. 

On the whole, though, this is a competent production, with director and producer Craig Baldwin and team presenting an exciting and memorable take on this Benjamin Britten classic. 

The Turn of the Screw by Henry James
Hayes Theatre Co
Composer: Benjamin Britten
Libretto: Myfanwy Piper
Story: Henry James
Producer and Director: Craig Baldwin
Assistant Director: Sheanna Parker Russon
Associate Producer: Julia Robertson
Music Director and Pianist: Francis Greep
Assistant Music Director and Pianist: Lillian Hearne
Set and Costume Designer: Emma Vine
Lighting Designer: Morgan Moroney
Stage Manager: Grace Sackman
Assistant Stage Manager: Hannah Ribbons
Cast: Catherine Bouchier, Kanen Breen, Georgia Cooper, Julie Lea Goodwin, Sandy Leung, Benjamin Rasheed, Addy Robertson, Sophie Salvesani, Ruth Strutt, Margaret Trubiano

Tickets: $75-$89

The Turn of the Screw will be performed until 15 September 2024.