The Torch Theatre return to what they do best this Autumn with a spine-tingling production of Henry James’s gothic horror story, The Turn of the Screw. Directed by Artistic Director Chelsey Gillard from the adaptation by Jeffrey Hatcher, Samuel Freeman and Seren Vickers star in the lead roles in this sinister and atmospheric reimagining of the psychological ghost story which left the audience in stunned silence.

The set design (Ruth Stringer) is impressive, immersing us into the interior of Bly house, complete with fractured staircase, an elevated window draped with heavy curtains and a door at the end of the landing. At the forefront of the house and the stage, the still waters of a lake and the banks of the garden bring to life the story. In the distance the tower stands partially illuminated and wisps of clouds puff across the audience eyeline as night falls. This visual spectacle engulfs us, anticipation set, as a jangle of music plays and the room is plunged into darkness.

From this moment on we are voyeurs to the events of Bly house and its inhabitants. We are drawn into the story, an unexplainable grip keeping our attention, such is the storytelling of Henry James, in his infamous novella. This translates beautifully onto the stage under the effective direction of Gillard and thanks to the talent of the small cast. Not a beat is missed and every opportunity is taken to add something to the tale. The fact that the characters never seem to completely leave the stage, often looming in the darkness, adds to the ongoing sense of easiness that builds with the tension of the story. Are we ever truly alone at Bly?

Milford Haven born Samuel Freeman returns to the Torch stage, previously wowing in productions including Of Mice and Men and Sleeping Beauty. Freeman is enticing to watch on stage, immersing himself in each of the roles he plays (3 in total) from the Master of Bly and uncle to the children, to housekeeper Mrs Grose and Miles, a 10-year-old boy. We know when he appears on centre stage which character he is portraying just by his body language and facial expressions – the stoop and squint Of Mrs Grose, the untamed energy yet serious stance and set face of Miles. It takes quite something to be able to flip between characters like this and keep the audience on board. Seren Vickers also shines in her role as the lady who is hired to attend to the children as governess at Bly strictly advised not to contact her Master for any reason. At first excited by the opportunity and full of optimism and love for the children – we know of Flora, the unspeaking child, simply by the gesture of a hand reaching out to lead her into the garden or a smiling look in her direction – yet as things begin to be revealed and the atmosphere becomes more sinister her strength and determination comes though and she becomes emboldened by the situation. However, it seems that Bly has a life and a history all of its own.

Jack Beddis and Tom Sinnett provide the music which, with the set,is the lynch pin that pulls the whole production together. Composers with a background in theatre, live music and recording, they work here to hold the audience in a constant state of suspense, unique sounds providing the undercurrent for key scenes within the narrative. Words are also echoed to portray audio effects such as the ‘drip, drip’ of the rain water, the echo of a bird which haunts the story throughout and the uninvited ‘footfall’ in the house at night time. When Miles plays the piano it is presented in a constant yet somehow sinister low hum by the actor.

The costumes, also provided by set designer Ruth Stringer, are stunning, fitting perfectly with the setting also allowing the actors to move around the set and portray the varied roles. Having a set and costume designer in one seems to work so well in bringing together the vision of a production, blending the elements seamlessly with the story.

The lighting and visual effects (Katy Morison and tech team led by Andrew Sturley) really emphasise the production too, the characters often being spotlighted on stage, while the rest falls into darkness both reflecting the story and the internal turmoil of the characters. Lighting is used to portray a thunderstorm in a powerful scene where rain runs down the window of the house and pelts the lake setting the atmosphere for the watching audience.

As the house and its inhabitants descend further into darkness, we are left to figure out the true events of the story – something critics have pondered over for centuries, a riddle within itself, with the question left dangling as the governess’s shadow fades against the backdrop of the house.

The Torch Theatre’s Autumn production of Henry James’ classic gothic tale brings to life the story, in a set that could be torn from the pages of the novella, with actors who command the stage and supporting elements which make this a powerful and unforgettable production.

Not to be missed!

The Turn of the Screw runs until 25 October.

Image: Lloyd Grayshon, Media to Motion