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The Turn of the Screw
by Ken Whitmore, adapted from a novella by Henry James
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Dates Tues 15th to Sunday 27th November (no show Mon 21st) 7.30pm Tickets: £12 (£8 concessions) Venue: Barons Court Theatre, below 'The Curtain's Up' pub Comeragh Road, Fulham, London W14 9HR Bookings: 020 8932 4747 | ||
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CAST Miss Grey: Helen MillwoodMrs Grose: Alison Liney Miles: Kristy Bruce Flora: Frances Knox Mr Crimond: Geoff Sloan POSTER  PRODUCTION PHOTOGRAPHS    Click the images above to see more photographs from this production.
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CREW Director: Barrie AddenbrookeSet and Costume Design: Barrie Addenbrooke Lighting Design: Andrew Peregrine Technical & Sound Design: Martin G Brady Hair & Make up Design: London School of Media Make Up Co-Design (costume): Jackie Robinson Wardrobe: Pauline Bennett Tapestry: Tess Walsh Graphic Design: Geoff Sloan Production Photography: Lara Bruce, Elizabeth Goode Lighting Operation: Elizabeth Goode, Chris Knight Stunt Coordination: Richard Kirby Original piano music: written and performed by Jonathan Webster, produced by Peter Maydew. PRODUCTION NOTES Performed as a double bill with a new adaptation by John McSpadyen of Bram Stoker's The Judges House, this opened the Goths, Ghosts & Ghouls Season.DIRECTOR'S NOTES The origin of the novella is believed to be a story told to Henry James by the Archbishop of Canterbury. The tale has held a fascination for academic study and artistic adaptation ever since its publication. One reason must the ambiguity that James introduces at every level of the work. This ambiguity is amplified by the distance he puts between the reader and the protagonists: the story is told to our narrator by a third party, who himself read it in a twenty year old journal written by the unnamed governess. Is the governess’s sanity in question or do ghosts actually appear. Are the children innocents or accomplices of supernatural masters? What was the relationship between Quint and the boy in his charge? What part does Miss Grey play in Miles' death? For me, it is important to maintain the mystery of the original by leaving these questions for the audience and for the action to advance, literally and metaphorically, out of the shadows. After workng on the play, it is clear to me that the story is just as haunting and disturbing as when it was created over a hundred years ago.
Barrie Addenbrooke
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