No one could accuse Benjamin Britten of being a composer who shied away from difficult issues. Many of his major works - the operas in particular - deal with various kinds of abuse, from rape to psychological torture. What makes The Turn of the Screw, and the Henry James ghost story on which it is based, endlessly fascinating is the ambiguous nature of that torture. The two children, Flora and Miles, are emblems of corrupted innocence - clearly victims of some sort, but of what sort exactly is never spelled out.
Britten retained James's suggestion that the whole ghost scenario may be a figment of the Governess's imagination, but the opera is less of a psychological drama than full-blown melodrama. By staging it in the RNCM's tiny studio theatre, Stefan Janski's production maximises a claustrophobic, hysterical atmosphere: not a single gesture or facial expression fails to make its mark. Alexander Grove (Quint), in particular, played this to his advantage. His first appearance was electrifying, not only because of his stunning command of all those long, insinuating melismas, but also because he looked and behaved exactly like the kind of evil yet hypnotic figure that so entrances Miles. Merryn Gamba's tragic but predatory Miss Jessel was also compelling, showing her inner torment through a convoluted hysteria of gripping intensity.
The central figure of the Governess, superbly played by Elizabeth Donovan, is an extremely demanding role, requiring wild oscillations from sentimental to terrified. Donovan's impressive richness of tone and dramatic intelligence was ideally complemented by Sian Hodges's admiring but puzzled Mrs Grose. Twelve-year-old Phillip Rowbottom as Miles had an especially nice line in meaningful glances, while Rebekah Coffey's demonic Flora offset the sinisterly adult composure of her brother with a disturbing vehemence. Though Coffey's Flora was surely darker than anything Britten had in mind, her compelling stage presence is a crucial part of what makes this production not only powerful, but also profoundly unsettling.
· Further performances on December 3, 6, 9, and 12. Box office: 0161-907 5555.
