THE TURN OF THE SCREW. Director: Harriet Taylor. Conductor: Jeremy Silver. Cast (opening night): Molly Dzangare, Nica Reinke, Vuyisa Xipu, Karabo Rabaloi and Members of the Opera UCT Chamber Orchestra. Pam Golding Baxter Theatre.
BEVERLEY BROMMERT reviews
Skilled direction, as well as imaginative staging, offset and promote the performance of Opera UCT’s young artists in this very dark piece which rounds off the company’s 2024 season in style.
For this production of Benjamin Britten’s work, a more insightful approach than the predictably gothic presentation of a late Victorian ghost story has been adopted. Ambiguities and sub-texts add multilayered depth to Henry James’ unnerving novella.
The two spectres (Quint and Miss Hessel) haunting Bly are not only the sinister apparitions traditional in ghost stories, but also embodiments of the nightmares plaguing children who have suffered psychological abuse. The youthful victims’ ghostly imaginings prove infectious as, significantly, their new governess is equally afflicted once the same. Surreal visitations intrude on her own conciousness after an initial period of bliss in caring for her charges.
Thereafter comes the battle between good and evil…
Understated, passionate and intelligent
To this poignant and macabre scenario, director Harriet Taylor brings an understated, compassionate and intelligent interpretation: apart from some startling light effects and suitably oneiric chiaroscuro, the opera’s narrative evolves at a steady pace as opposing forces vie for supremacy in winning over traumatised souls.
The Opera UCT Chamber Orchestra’s musicians under Jeremy Silver’s cohesive baton deliver unflagging accompaniment to vocal performance throughout the evening, with ominous percussion serving as the harbinger of trouble, leavened by lighter moments from fluent woodwinds.
There is mercifully both light and shade to nuance the piece: two arias stand out for their limpid beauty. First is the lovely solo from the Governess in Act One before her trials set in; another is a gentle lullaby crooned by the child Flora to her doll.
Not for the first time, soprano Molly Dzangare shines both vocally and dramatically in a lead role, this time as the Governess. Nica Reinke (mezzo) impresses with her portrayal of the harried but determined Mrs Grose, Bly’s housekeeper.
The two children are astutely cast – soprano Siphosihle Letsoso is particularly convincing as the elder sibling Flora, while Onalenna Maelane (the boy Miles) has heart wrenching appeal.
Tenor Vuyisa Xipu (Quint) and soprano Karabo Rabaloi (Miss Jessel) prove that there is more to their respective roles than merely projecting evil intent: both have the vocal proficiency to meet operatic requirements, and do justice to their solos.
The future of opera in this country
Set, costumes and lighting design form a major part of this production’s impact, which is considerable. Marcel Meyer has achieved yet another example of evocative brilliance with period costumes, a stage of monochromatic beauty extending both upwards and sideways to create additional space for the action, and the focal feature of an ornamental pond issuing multiple challenges to the audience’s imagination… Luke Ellenbogen’s lighting handsomely complements Meyer’s set.
The Turn of the Screw gives Opera UCT’s trainee artists an opportunity to showcase not only their calibre, but also their versatility; both are impressive, and augur well for the future of opera in this country.
What: The Turn of the Screw
Where and when: Baxter Theatre 20 to 23 November 2024
Tickets: Webtickets
WS
