The Turn of the Screw

It is that time of year again, when thrill seekers of all ages flock to local theme parks to scare themselves silly, ghosts and ghouls are abundant on television, the movies are overrun with the paranormal, and local theater companies do their best to frighten the audience. Imagine if you will a secluded gothic mansion in the English countryside, two mysterious deaths, one wide-eyed governess and two orphans left to their own devices and you have the makings of a gloomy Victorian ghost story. Based on the novella by Henry James, The Turn of the Screw has always proved to be a bit of a conundrum to me. Is there any coincidence that the characters are confronted by riddles throughout the story. I think not. I have read the story, watched several film versions and now on stage, and I'm still not quite sure what happens.

Are there really ghosts? Is the governess going crazy? What did Miles do at school to get himself expelled? Why doesn't Flora talk? And why does the uncle insist that he should never be contacted regarding the children? All questions that are never really answered. Oh, many things are alluded to but nothing is clearly stated. Could it be more ambiguous? No, I don't think it could.

I usually enjoy the bare bones approach of this company's use of sets, props and even cast members, but this Anne Hering directed production of The Turn of the Screw relies too heavily on the audience's indulgance. There are only two members of the cast - Suzanne O'Donnell as the governess and Eric Hissom as everyone else - the narrator, the uncle, Miles, Mrs. Grose, and even sound effects. Flora is invisible. It gives the production a bit of a comic bent. And to be honest the first several minutes of the play were more funny than scary. Or was that the plan, to catch the audience off guard? The dark and moody set is sparse - a painted backdrop, a few chairs and a staircase. The staircase landing doubles as upstairs rooms (use your imagination).

O'Donnell and Hissom are regulars of The Orlando Shakespeare Theater company. Hissom was beguiling as the uncle and a little sinister lurking about the stage imitating the wind or a bird's lonesome cry. But I found the switches between young Miles to eldery Mrs. Grose distracting. Although entertaining, the character changes definitely took away the fright and added tongue-in-cheek silliness to the production. However, O'Donnell's bloodcurdling scream brought back the fright and her often out of breath delivery put you on edge. The audience is captivated as it watches her slow decent into... well, I'm not really sure into what - is it madness or terror?

Although my attention was held throughout this entire production, I've never really enjoyed this story. I guess I am bothered by too many unanswered questions. Are the children possessed or is the governess going nuts? Or is it both? You be the judge when you see The Turn of the Screw now playing at the Orlando Shakespeare Theater until November 7th.

The 39 Steps

Hitchcock meets The Carol Burnett Show in the Orlando Shakespeare Theater's production of The 39 Steps. Filled with comedy shticks, innuendo and creative use of minimal cast and props (requiring a bit of an imagination from the audience), The 39 Steps is an adaptation of the novel by John Buchan and the movie by Alfred Hitchcock.

The cast of four, a combination of newbies and seasoned regulars, manages to bring to life numerous characters with thick accents and several hats to wear. Spencer Plachy in his debut season as handsome fugitive, Richard Hannay... and only Richard Hannay appears in almost every scene. Although his soliloquies slow down the momentum of the play, his accent is impeccable and the only one I could discern. Astute at physical comedy, he received a rousing hand of applause as he agilely squirmed his way out from under a dead body, pretended to walk along the outside of a train, and fell from a makeshift bridge.

In her debut season, Deanna Gibson, the only female in the cast, channels Carol Burnett as Annabella, Margaret, and Pamela. And considering Burnett is a comic genius, Gibson has big shoes to fill - whether she intended this homage or not. She comes closest as Annabella, the German (her nationality is questionable) spy, with an accent so thick I was lost most of the time. But I found myself transported to my youth watching a skit from the TV show starring Carol Burnett and Harvey Korman.

Brad DePlanche and Brandon Roberts round out the cast as - according to the dramatis personae - Clown 1 and 2 respectively. Taking on multiple roles - sometimes in the same scene, DePlanche and Roberts prove to be both adept at physical comedy and character development. Amazing with quick changes of clothes and accents, this comedy team keeps the audience laughing throughout the entire show. Although some of their antics wear thin, their overall effect is fun and frolicsome. And if only Roberts looked more like Lyle Waggoner than Don Knotts, they would have captured the entire cast of The Carol Burnett Show.

I thoroughly enjoyed the unique use of props (or lack thereof) throughout the production. This theater company never fails to amaze me with their sparse but essential use of scenery, lighting and sound to create the ambiance of a show. I especially enjoyed the shadow puppetry segment.

I know that it was all part of the scripted comedy, but it did get old trying to discern what the heck everyone was saying due to the over-the-top, thick accents. And speaking of getting old, many shticks were played to death - the DUM DUM DUM every time the 39 steps were mentioned was the most annoying. But overall, this Jim Helsinger directed production keeps you entertained - and isn't that the point.

The 39 Steps runs through October 10th.