This was posted on a site that critiques theater performances by LDS people. I'm not mentioned, but you can see how much this guy LOVED the play! Yay for Rachel and Ben!
A MOTLEY VISION: Mormon Arts and Culture
By Mahonri Stewart | 10.28.08
The other powerful Halloween tale playing in the valley right now trades vampires for ghosts… or are they? Turn of the Screw, playing at the Covey Center for the Arts, is adapted from the classic novella by Henry James with skillful artistry by playwright Jeffrey Hatcher. Drawing as much from the literary criticism surrounding the story as the actual story itself, the play poses a good many questions about what exists in our minds and what is indeed real and supernatural. It also has questions about affection and what happens when we are not given this vital and basic need. Psychological drama as much as ghost story, the classic tale follows a governess who is given charge of two children, but with the express orders that she is to never contact their guardian about them– even when, it turns out, they are in the most dire need. Soon figures from the children’s past appear to the governess as she tries to piece together why she can see these figures when no one else can (except for perhaps the children?).
As with Nosferatu, this play rises on the wings of its director. Kimberley Mellen is a revelation to me, for I had very little previous knowledge of her until now. The concepts and execution of this play in Mellen’s hands are nothing short of miraculous.
To understand the limitations set upon her (and then the amazing things she did with the space), one has to understand the Covey Center’s “little theater.” It’s not that much of a theater, it’s really just a big room painted black with risers and installed theatrical lights. And before those lights came in, I have seen productions in there where the stage manager would just turn on and off the lights for scene changes. Actors have to enter through the same doors the audience does, and often music or other performances can be heard from downstairs where the more “grand” theater exists. So, to say the least, it’s never been an ideal space. But Ms. Mellen does something splendid with the space, using it to her utmost advantage.
Instead of staging the play in its proper Victorian period, the director garbs her actors in simple black clothing and relies heavily upon masks for most of the characters except the governess. She creates a square out of shower curtains, which can be drawn back and forth throughout the play, and which have a whitish, translucent quality to them. With the curtains off-setting them, the black, large brick walls behind the actors suddenly seem less like a room, and instead take a very disturbing, clinical quality to them. As if you have just found yourself in an asylum.
As the curtains are drawn back and forth, back and forth, back and forth with increasingly reckless abandon, where this governess exists and what she tells us becomes highly debatable and we do not know whether we are being “seduced” into her way of thinking, or whether what she is telling us is real. A hand held, electric lantern is also used throughout the play, sometimes pointing at the audience (again, an uncomfortable glare), sometimes shadowing the actors in frightening ways, sometimes casting our focus (or distracting it) to and from where it needs to be. All of these elements combine to make a very visceral and highly dramatic theatrical experience. This revelation of Mellen’s talent, I hope, is only a preview of great things to come from her. She easily joins people like Chris Clark, David Morgan and Barta Heiner in my personal pantheon of favorite directors.
And, of course, half of the job of good directing is good casting. Here Ms. Mellen does not disappoint either. All of the roles are divided between two actors. Rachel Baird plays the lonely governess, while Benjamin King plays everyone else. Ms. Baird gives a startling beautiful, yet frightening, portrayal of this governess. Aching, lonely, vulnerable, yet with a repressed passion and strength, it’s one of the best performances I’ve seen all year. A perfect complement to Ms. Baird is her fellow actor Ben King, who is a force of nature in and of himself in this play. Taking on several very distinctly different roles (complimented by some very evocative masks), he is able to give us a very convincing portrayals ranging from a seductive employer, trapping the governess into a strange and often frightening occupation; to a vulnerable, yet slightly creepy young boy, quite the feat since King towers above the governess; to the housekeeper, which King does a surprisingly excellent job at, considering his manly height and physique. Between the two performers, the show was one of the best acted pieces of theater that I have seen for a very long time.
