Writer: Kevin Kelly
Director: Tim McArthur
Despite Benjamin Britten’s fame and adulation, his life was not without controversy. He was in a long-term relationship with his life partner, Peter Pears when homosexuality was illegal. But more than that, he had, this play claims, strong affinities with pubescent boys that verged on infatuations. It is one particular infatuation that is the subject of Turning the Screw.
Britten (Gary Tushaw) is a year late in delivering his latest opera, The Turn of the Screw, based on the Gothic horror novella by Henry James. He is stuck. The voice of Miles, the novel’s young protagonist, is eluding him. But time pressures force him to start auditioning and rehearsing the opera, even though it’s not finished.
It is here that Turning the Screw starts its story. At the auditions, Britten comes across a 12-year-old choir boy, David Hemmings (Liam Watson) and is instantly taken by his energy and innocence. Despite a voice not strong enough for the role, he gives the young boy the job and has him move into his home in the country, where he can get vocal training and rehearse the show.
David’s presence in Britten’s life invigorates him. He simultaneously becomes a version of himself at the same age whilst also being motivated to write some of his most respected work. The association between the two is a cause of concern for the people around Britten. If the whisperings about Britten and Peter Pears (Simon Willmont) were not enough, the additional rumours about him and a pre-teen boy would be beyond repair.
Turning the Screw is a hugely engaging exploration of this specific time in Britten’s life. It follows Hemmings moving into Britten’s house and the development and premiere of the opera. It interestingly plays out more like a news piece than a story. There is no judgment, justification, or opinion. It shows both sides of the story leaving you to decide what you think happened.
Both the writing and direction are very sympathetic to the subject matter. Nothing seems sensational or voyeuristic. Actually, it’s a surprisingly warm and humorous piece. Tushaw and Watson are wonderful, respectively as Britten and Hemmings, with Watson delivering a pitch-perfect performance of a 12-year-old boy (when he’s a good few years older).
Kevin Kelly’s play covers a multitude of key themes – the creative process, adult/child relationships, sexuality, power, influence, and fame – all of which are deftly entwined into a well-paced narrative that doesn’t get bogged down with any specific elements and instead gives something akin to a clouded romp through this period.
Were Hemmings not a young lad, this story would be very different, but it’s a testament to all involved that this particular tale can be told in a way that shines a light on the more than obvious issues, but also showcases the other nuances playing out – that of being a creative person in an illegal (homosexual) relationship, whilst under immense pressure to deliver a piece of exceptionally creative work.
Turning the Screw is an appealing story about a troubling experience. It’s beautifully told and presented and it’ll leave you pondering the subject matter for a little while longer than you might expect.
Runs until 10 March 2024
The Reviews Hub Score
Sensitive and engrossing
