Turning the Screw, directed by Tim McArthur examines the life of famed and decorated British composer, Benjamin Britten, but does it strike a meaningful chord?

Firstly, it must be said that describing the show as Britten “grappling with his homosexuality” during the pink panic of the 1950s is not quite fair. Kevin Kelly’s script primarily focuses not on Britten’s homosexual, consensual relationship with his partner Peter Pears but rather on Britten’s ‘attraction’ to choir boys on the cusp of puberty (eleven- to thirteen-year-olds). Kelly’s plot focuses on Britten’s interest in twelve-year-old choir boy, David Hemmings who becomes a muse for Britten when composing his rendition of The Turning of the Screw. Britten attempts to justify his infatuation with these young choral boys because he believes they are like “Apollo” on earth, these cherubic, innocent pure creatures that are then (in Britten’s eyes), destroyed by puberty. It sometimes feels as if the play is falling into realms of ‘justifying’ or explaining Britten’s attraction to minors and his potential paedophilia which is deeply unsettling.

Indeed, this is most confused during the nightmare-sequence where Britten dreams that he is being persecuted for “sodomy” and we as the audience are left unclear as to whether Britten is being punished for going nude swimming and sleeping in the same bed as a twelve-year-old boy or being a homosexual in a consenting relationship with an adult male. An obviously problematic and insensitive conflation to be making. Once the uncomfortable comparison has been noted, it can be hard to ‘enjoy’ the rest of the show and appreciate its strong elements. There is an interesting use of classical music and choral singing throughout the piece that does help with the worldbuilding and creates a sense of environment and atmosphere.

Despite the divisive script, Gary Tushaw (as Britten) is a standout performer, holding the audience’s attention as he confidently commands the stage with ease. Indeed, the ensemble all work hard and give an energetic performance; however, it can sometimes stray a little into ‘over-acting’, as the direction of the performance feels a little too loud and ‘showy’ compared to the reasonably modest setting of the Kings Head Theatre. This type of direction from McArthur might work better in a larger space that requires a certain level of expression and declaration, but the show lacks intimacy for what is supposed to be a personal show detailing the inner life of Benjamin Britten.

Overall, Turning the Screw is a “curious story”, but it is also a pretty confusing and conflicting one. It is playing at King’s Head Theatre until 10 March.

** Two Stars

Reviewed by Nancy Brie

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