The Turn of the Screw

The Turn of the Screw– Manor Pavilion , Sidmouth

Review
Date 9 May 2026
Society: Sidmouth Amateur Dramatic Society Ltd
Venue: Manor Pavilion, Sidmouth
Type of production: Play
Director: Joan Heard
Lighting: Chris Jackson
Sound: Brian Easter
As seen by Sara Leat, NODA SW District 6 Representative
Ken Whitmore’s adaptation of Henry James’s “The Turn of the Screw” is a
masterclass in psychological horror, and the Sidmouth Amateur Dramatic
Society’s recent staging at the Manor Pavilion captured its chilling essence
with great skill. The story, centred on a young governess’s conviction that
ghosts haunt the children in her care, unfolds in a haze of ambiguity—leaving
the audience questioning what is real and what is imagined.
The set design was an example of simplicity and atmosphere. The open
stage, devoid of curtains, immediately drew us into the Victorian setting.
Minimal furniture and a striking set of French doors, softly illuminated to reveal
a garden scene, provided a focal point. A solitary rocking horse, innocent yet
ominous, added to the suspense. The clever use of light-coloured drapes,
which billowed to evoke a storm, and the realistic flicker of a fire, contributed
to an immersive environment without cluttering the space.
From the outset, the production established its tone with haunting music and
the appearance of two spectral figures. Their ashen faces and sunken eyes
embodied the soulless spirits of the tale, and the eerie movement of the
rocking horse as they crossed the stage set nerves on edge.
The direction by Joan Heard embraced a classic, time-honoured approach,
which lent the production a sense of authenticity and respect for the original
story. This traditional style allowed the audience to fully appreciate the period
atmosphere and the subtle nuances of the performances.
The cast delivered strong performances throughout.

• Mr Crimond, though only present in the opening scene, made a memorable
impact with animated delivery and excellent diction. A very polished
performance.
• Mrs Grose, the housekeeper, anchored the story with warmth and
compassion. The actor’s nuanced portrayal brought authenticity and depth,
maintaining characterisation and engaging the audience throughout. A lovely
performance.
• Miss Grey, the governess, carried the demanding central role with poise and
stamina. While there were moments where emotional subtleties could have
been further explored, the actor’s dedication was evident, and with continued
experience, their skills will undoubtedly flourish. Congratulations for a solid
and dedicated performance
• Flora and Miles, the children, were played with confidence and
understanding, balancing innocence with a subtle hint of underlying menace.
• Miss Jessel and Peter Quint, the ghosts, were silent yet powerful
presences. Their atmospheric stares sent chills through the audience,
demonstrating how much can be conveyed without words.
Costumes and makeup were exemplary, perfectly evoking the Victorian era
and enhancing each character’s presence. The attention to detail in period
hairstyles and subtle makeup added authenticity.
Technically, the production was well supported. Sound was clear and effective,
with atmospheric effects—whistling wind, bumps in the night, and realistic
piano playing—heightening the tension. Lighting was understated but
effective, with soft illumination behind the French doors and subtle transitions
marking the passage of time.
The ensemble worked cohesively, creating a unified and engaging
performance bringing each scene to life with commitment. While the longer
pauses between scenes occasionally slowed the pace, these could be
improved by tightening transitions or adding visual interest to maintain
momentum. With minor adjustments, the production’s energy and continuity
will be even stronger. Overall, the cast’s unity and dedication shone through,
making for a memorable experience.
Congratulations to all involved for a compelling interpretation of this classic
ghost story.

PLEASE NOTE:

Any observation made by the reviewer can only be based on what they see at the performance in
question. The reviewer may have received information in advance of the performance, and it is
inevitable that their assessment will be affected by that knowledge.

The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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