West Edge Opera Festival revealed a compelling new staging of Britten’s chilling psychological thriller, The Turn of the Screw.
Director Mark Streshinsky had the good fortune of revisiting this haunting piece of lyric theatre with the leading soprano and conductor with whom he had collaborated on a prior production in 2013. A lot has changed since then, particularly in the realm of technical theatre.
Set and projection designer Yuri Izumihara’s name turns up so often, I think there must be two of her! She certainly has been a major player in this festival, and here she has created imposing scrim panels on which a forbidding outline of a decaying Victorian mansion is seen. The “structure” is an especially effective depiction of the all-important tower. Behind the scrim are well chosen set pieces, and down left on the apron sits a bench surround by scrappy shrubs.
Alexa Sessler (Miss Jessel), Alex Boyer (Peter Quint),,Roya Agarwal (Flora),,Noah Hajduk (Miles)
Ms. Izumihara works magic with the subtly changing imagery, and conjures up the disparate locations with aplomb. The bewitching stagecraft included live video projections of the apparitions of Quint and Miss Jessel. We see the two characters first in the flesh (well, you know what I mean) on stage, but after that they are relegated to an unseen video studio on the sixth floor, and while their disembodied voices waft into the auditorium, their spectral images appear on screen, sometimes in truly frightening close-ups. This was a superb realization of these critical moments in the psychodrama.
The supernatural underpinnings of the tale were also greatly advanced by Illia Campbell’s spookily refined lighting design. Mr. Campbell made excellent use of diverse area lighting and specialty spots to heighten the sense of isolation, and to differentiate locations and emotional states. His even wash of the apron accurately conveyed the greater sense of freedom outdoors, all the while using colors that maintained a sense of foreboding. Sarah Nietfeld’s mid-last century’s homey costumes convey an appropriately sedate look and help define the characters’ stations. Roxie Johnson contributes her usual high quality work with her hair and makeup design.
Director Streshinsky’s prior experience with The Turn of the Screw seems to have provided a thorough grounding in the many nuances of this puzzling little shocker. He has obviously worked closely with his small cast to develop an evolving arc for each character, most especially the Governess who has an ever-growing challenge with discerning reality, and a subtly itchy libido. Mr. Streshinsky commands every inch of the stage space with careful, varied blocking, achieving striking effects when the onstage characters must interact with the projections. His was likely as definitive a staging of this piece as you will ever experience.
Alexa Sessler (Miss Jessel), Roya Agarwal (Flora), Laura Bohn (The Governess)
Laura Bohn was a revelation as the Governess, her beautiful lyric soprano freely produced, and with plenty of well-controlled heft for the more substantial outbursts. Ms. Bohn commands an admirable range of colors, and both her vocalizing and her physical acting were impeccably intriguing. She has had a good deal of time to marinate in this music since 2013, and she demonstrably has mastered every last nuance imaginable in the role, giving a brilliant performance that was informed by thoughtful subtext.
The children were well chosen, and they were well-tutored in this rhythmically tricky, sometimes vocally ungrateful writing. Roya Agarwal was a commendable Flora, her youthful, clear treble easily encompassing the role, and her acting was focused and consistent. In the critical role of Miles, young Noah Hajduk was physically ideal, and he had an easy duplicitous presence. His sweet treble pipes were exceedingly accurate ,and his melismatic intonations of “Malo” were affecting. At times, he was difficult to hear, especially on the key dramatic button to Act I (“I am bad, aren’t I?) making me wish he (and Flora) had been lightly mic’d. That said, Noah killed his last outburst of “Peter Quince, you devil!” with a searing delivery.
Alex Boyer was a memorable Quint, his substantial, honeyed tenor dripping with ingratiating malice. His exquisite, perfectly enunciated Prologue set the musical standard for the entire evening, and his vocalizing and tonal beauty was a through line that buoyed the whole enterprise. Erin Neft provided a solid interpretation of the put-upon housekeeper, Mrs. Grose, her incisive soprano ringing out with authoritative body and luxurious sheen. As Miss Jessel, Aléxa Sessler had the least amount of stage time but impressed with her gleaming soprano that was even in all registers and ravishing in its tonal beauty.\
Laura Bohn (The Governess)
Britten wrote this opera for virtuoso orchestral playing and under the baton of Jonathan Khuner, boy, did his players deliver. The piece is notable for its short scenes bridged by the commentary of thematically related orchestral interludes, and the thirteen players populating the pit were jaw-droppingly impressive in executing their assignments. Maestro Khuner elicited musical excellence of the very highest order from his assembled forces.
I am fortunate in that I have always experienced wonderful productions of this jewel that is The Turn of the Screw over the years. But this current West Edge Opera iteration may just be the best ever. Bravi, tutti!
James Sohre
The Turn of the Screw
Music by Benjamin Britten
Libretto by Myfawny Piper
Cast and Production Staff:
The Governess: Laura Bohn; Peter Quint: Alex Boyer; Mrs. Grose: Erin Neft; Miss Jessel: Aléxa Sessler; Miles: Noah Hajduk; Flora: Roya Agarwal.
Conductor: Jonathan Khuner; Director: Mark Streshinsky; Set and Projection Designer: Yuri Izumihara; Costume Designer: Sarah Nietfeld; Hair and Makeup Designer: Roxie Johnson; Lighting Designer: Illia Campbell.
Top image: Alex Boyer (Peter Quint) and James Coniglio (Miles)
All photos by Cory Weaver