Last Updated on October 12, 2024
We’re Screwed
Benjamin Britten’s sexual passion for pre-twelves is always an odd part of his history to learn about. Various admirers and biographers portray him not as a paedophile but as the far more acceptable pederast. Britain’s most popular operatic composer couldn’t just be a run-of-the-mill nonce, no sir! Nicest man you could ever hope to be groomed by. Etcetera.
Kevin Kelly’s new play Turning The Screw at the King’s Head Theatre follows the creation and removal of one of Britten’s adolescent obsessions. Directed by Tim McArthur, The play tracks the creation of Britten’s opera Turn of the Screw. Britten is evidently in his element surrounded by sycophants, each character falling over themselves to compliment him, describing his music as divine. Britten himself though, is struggling. He’s hapless in his search for a voice, a muse, to help him flesh out the character of Miles. That muse is found in David Hemmings. As Britten fawns over David he grants him the important role of Miles for the world premiere.
Turning the Screw makes it plain that this part is not given for talent. David’s voice is not fully tested when Britten’s choice is made. During further tests that Britten sets up, David suffers from voice cracks and it’s clear he will need training. Britten invites him to live with him for a few months to train. David steps into the lion’s den.
Kelly paints a nuanced picture of the enabling system which supports Britten and how they interact with David. Britten’s long-term partner Peter Pears (convincingly played by Simon Willmont) unleashes the jealous rage of a partner spurned for repeated other interests. Bitterly resenting David he reveals that he’s not the first. Jo Wickham’s Imogen Holst let David know that she has trained many young boys at Britten’s house. Clearly happy to lend a veneer of respectability to Britten’s dalliances for the privilege of being able to bask in his shadow. Jonathan Clarkson was a variety of interesting roles but primarily Basil Coleman, an endlessly pretentious opera director.
Britten himself is played by Gary Tushaw. Britten is very clearly in love with himself. Constantly in the right, constantly determined to be admired by everyone around him. In order to lure Hemmings into the fold Britten plays his “Young Person’s Guide to the Orchestra” only revealing that it is his own work once Hemmings is suitably in his sway. Liam Watson plays a tween David Hemmings well although sometimes the conceit of acting like a child seems forced.
All this happens under the constant threat of illegality, though for Britten it’s as much a threat of arrest for his homosexuality as it is for his underage conquests. A nightmare scene reveals that Britten’s fears of discovery and motivation for moderation are fuelled by the terror of what could happen to him. No thought of the suffering of the children. Turning The Screw is faithful to its 50’s setting and the greatest public shame placed on Britten is his previous refusal to go to war. Britten left to live in the United States for the full duration of World War Two and this is hard to forget for many of the characters.
Turning The Screw is a brief delve into the dynamics of power in the arts. Britten’s walls of established prominence seem shaky from within and all but impenetrable from without. It’s too true to life to be edge-of-your-seat drama but it’s thoughtful and measured.
Turning the Screw runs until the 10th of March
King’s Head Theatre
115 Upper St,
London N1 1QN
Photos Credit Polly Hancock
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