! ! !

Two Turns Theatre Company Presents:

THE TURN OF THE SCREW

Per Merchant’s House Museum, New York City November 2010
for
m
Gui ance
NY de:
C Edi
tion
“The Story had held us,
round the fire,
sufficiently breathless...”

Welcome to The Turn of the Screw -The Turn of the Screw

by Henry James
HOW TO USE THIS GUIDE:
This Performance Guide is divided into three
sections, each designed to immerse you in the
world of our play from a unique angle. Use
them in any order—and before or after you see
the show—for a comprehensive (and creepy)
experience!

THE STORY
Explore the characters, plot and themes of this
ghostly tale.
Starts on Page 3

THE PLAY
Explore the process of adaptation and the
artistry of bringing a story to life on stage.
Starts on Page 9

Vince Gatton, Christina LaFortune

THE SITE
Explore the history of the Merchant’s House
“A ghost story that tells the tale of an apparition
Museum and learn what life was like when our appearing to a child always lends the tale a
story takes place. certain ‘turn of the screw.’ But if one child lends
Starts on Page 14 the tale one turn, what then can be said of two
children?”

- –The Turn of the Screw

- adapted by Jeffrey Hatcher

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WELCOME! PAGE 2

Introduction
We created this Performance Guide for the audiences of Two Turns Theatre Company’s
production of The Turn of the Screw. The information and activities found here can be
utilized in various ways by high-school classes, book clubs, college students and cultural
societies. Enjoy diving deep to explore this intriguing play!

THE TURN OF THE SCREW by Jeffrey Hatcher is based on Henry James’s 1898 gothic novella
of the same name. The story concerns a young Governess who ventures to an English
country estate to care for Miles and Flora, orphans living under the care of their wealthy
but distant uncle. Upon her arrival, the Governess learns of the sudden
deaths of the children’s previous caretakers, whose presence now haunts
the home and seduces all who remain. It is her gravest charge, the
Governess decides, to rid the lingering ghosts from the hallways of the
home and the minds of its inhabitants.

HENRY JAMES, THE NOVELIST: Born in 1843 in New York City, Henry James
spent his youth traveling back and forth between Europe and America. At
21 years old, after a brief stint at Harvard Law, James published his first
short story, A Tragedy of Errors, officially marking the beginning of his work
as a writer. His prolific publications included 22 novels, 15 plays, two full-
length biographies, and two volumes of childhood memoirs. James died in
1916 in London at the age of 72.

JEFFREY HATCHER, THE PLAYWRIGHT: Jeffrey Hatcher grew up in Ohio and attended New
York University, where he briefly studied acting before turning his hand to writing. In
addition to The Turn of the Screw, his many award-winning original plays have been
performed on and off Broadway and regionally across the US and abroad. They include
Several Hollywood
Compleat Female Stage Beauty (which he also adapted for the screen), Three Viewings, Scotland films have been
Road, Neddy, Korczak’s Children, A Picasso, Mercy of a Storm, Work Song (with Eric Simonson), based upon Henry
and Lucky Duck (with Bill Russell and Henry Kreiger). Hatcher wrote the book for the James’s work,
Broadway musical Never Gonna Dance, based on the film Swingtime, and co-authored with including The Lost
Mitch Albom the stage version of the bestseller Tuesdays with Morrie. A four-time participant Moment and Wings of
at the O'Neill Playwrights Conference, he is a member of the Dramatists Guild, New the Dove.
Dramatists, The Playwrights’ Center, and the WGA and author of The Art and Craft of
Playwriting.

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THE STORY! PAGE 3

Characters
The Governess: Twenty years old, the daughter of a poor country parson, and the heroine of our story, the governess is
young and pretty and alone. She falls for the children and their rich and charismatic uncle instantly, and takes the job as a
governess despite the strange condition that comes with it. From there she follows her intuition to navigate the horror she
finds at Bly, and makes decisions that forever change the lives of those around her...

The Uncle: A rich, handsome, and charismatic gentleman in the prime of his life, the children's uncle wants a governess
who can take charge of the children and run things at Bly without bothering him about anything. His past indifference
allowed Quint to wreak havoc, and his current silence drives the governess to take matters into her own hands.

Mrs. Grose: The housekeeper at Bly, she is in charge of maintaining the house and caring for Flora's needs. She loves the
children, thinks they can do no wrong, and will do anything to protect them from whoever or whatever threatens them.

Flora: The governess's new charge—and Miles's younger sister—Flora is well behaved and delicate. She does not speak,
not since the past trauma she shares with Miles, but she inspires great love and loyalty on the part of the governess and Mrs.
Grose.

Miles: Age ten, the young gentleman at Bly, Miles has been dismissed from school under mysterious circumstances. Miles
is intelligent, sensitive, and spirited with a mischievous streak. He returns to Bly, the scene of past trauma involving his
uncle's former valet, with nothing to do but tag along with his little sister and her governess, and try to find his way in a
confusing and dangerous world.

Peter Quint: The former valet at Bly, Quint was in the Uncle's favor and was allowed free reign of the estate. He helped
himself to the master's clothes, and to the maids and the governess. He took upon himself to be Miles's “tutor;” that is,
until his death one icy winter night.

Miss Jessel: The former governes at Bly, and a lady, Jessel was “almost as young and pretty” as its current governess. She
was seduced by Quint, despite their difference in station, and died mysteriously just prior to Quint's own death.

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THE STORY! PAGE 4

Christina LaFortune, Vince Gatton

Synopsis
A mysterious narrator begins a story about in charge. No sooner has the governess
two children and an apparition. He is in begun to win the trust of the girl and settle
possession of a manuscript, a diary in when she learns that the young
spanning seven days, given to him by a gentleman Miles, Flora's elder brother, has
women ten years his senior whom he calls been dismissed from school for some vague
cause and will be returning to Bly the next
Upon reaching the
“my sister's governess.”
day. The new situation in which the gentlman’s house in
On the first day of the diary, the woman governess finds herself takes on a more the country, an old,
travels to London to answer an ominous tone when Mrs. Grose reveals
advertisement for a job as a governess. She that the last governess, a “young and romantic, mansion
is “the only daughter of a poor country pretty” gentlewoman named Jessel, died not called Bly, the
parson” and is overwhelmed by the wealth long before. Governess is
and stature of the gentleman whom she
meets. The man is a handsome, The next day, while walking around the instantly drawn to
charismatic bachelor in the prime of his life, lawn and daydreaming about the children's its Gothic towers
and he seduces her into taking the job uncle, the governess sees him standing on and sparkling blue
caring for his niece and nephew despite the one of the mansion's Gothic towers. Her
strange condition that she may never surprise turns to horror when she realizes it lake.
contact him for any reason. He is busy, he is not her master, but instead a strange man,
says, and the children and their care cannot staring directly at her. The man disappears
take up any of his precious time. She shall as Mrs. Grose approaches her, but the
be in complete charge of the house and the governess, shaken by the encounter, says
children, and deal with any problems nothing to her about the man. It is not
herself without troubling him. until after she sees him again, staring in
from the window while Miles plays the
Upon reaching the gentleman's house in the piano, that she confides in Mrs. Grose. The
country, an old, romantic, mansion called housekeeper does not believe her until she
Bly, she is instantly drawn to its Gothic recognizes the governess's description of the
towers and sparkling blue lake. There she man as Peter Quint, the former valet at Bly.
meets Mrs. Grose, the housekeeper, and the Quint, according to Mrs. Grose, had a
little girl, Flora, who does not speak, and of terrible influence on Miles and, though not
whose education the new governess is to be a gentleman himself, seduced Miss Jessel,

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THE STORY! PAGE 5

SYNOPSIS CONTINUED... tower where the governess first saw Quint.

with whom he “did things” while the He runs inside and she finds him in his bed.
children watched. Quint had died that He pretends to sleep and she does not wake Jessel stands
previous winter from a fall, not long after him or question him. Inside her Bible, the motionless on the
Miss Jessel drowned herself, and the governess finds a riddle written into the
children found his bloody corpse at the foot margin. Mrs. Grose reveals the following island within the
of the tower. Flora never spoke from that morning that the Bible belonged to Miss lake, dressed in
day on, and in order to spare the children Jessel. The governess denies the pleas of black, pale as death.
further pain, Mrs. Grose lied to the Mrs. Grose and the children to write to the
magistrate, claiming that she was the first to master. Whatever is to come, she is resolved
find the body. The governess and Mrs. to meet it herself.
Grose vow to tell no one about the
apparition and protect the children. While walking to the chapel the next day,
Miles asks the governess when he can go
The next day the governess takes the back to school. It is unnatural, he implies,
children to play by the lake, where Miles for a boy of ten to be around women all
and the governess amuse themselves with day. He reveals that he snuck out at
riddles. Distracted by Miles's talk, she looks midnight so that the governess would think
up and sees Flora wading in the water of him “bad.” Miles wants his uncle to come
the lake, directly towards a figure of a to Bly, and promises to ensure that
woman whom the governess recognizes “something will happen” to bring him
immediately as Miss Jessel. Jessel stands there. The governess asks Miles Jessel's
motionless on the island within the lake, riddle, and he answers it and kisses her.
dressed in black, pale as death. The The governess is highly disturbed by Miles's
governess and Mrs. Grose rush the children manner, and decides that the children's
back home and to bed. souls have already been taken by the ghosts.
Terrified, she tries to flee the house and
Midnight the following day, the governess finds Jessel in her bedroom, weeping. The
hears Flora humming from the nursery and governess speaks Quint's name and Jessel
finds her standing at the window, staring disappears, giving her hope that she may
outside. On the lawn is Miles, in his break their hold on the children.
nightclothes, twirling and staring up at the

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THE STORY! PAGE 6

SYNOPSIS CONTINUED...
She decides not to leave Bly and informs Alone with the governess
Mrs. Grose that the ghosts are trying to the next day, Miles asks
possess one another by possessing the her to help him leave Bly.
children and begin again with where they He promises to tell her
left off before their deaths. “everything.” He admits
that he stole her letter to
She writes to the children's uncle, begging the master, but, being
him to return, and she vows to discover why dyslexic, could only read a
Miles was dismissed from school. Miles few words. The governess
comes in on her writing and casually presses him with questions,
informs her that Flora is missing. and Miles reveals that he
was dismissed from school
Governess and Mrs. Grose run to the lake because he “said things,”
and find Flora launching into the lake in a “bad words” to the “ones
boat. The governess sees Miss Jessel on the he liked.” She commands
island in the center of the lake, staring at him to say “his name” and
Quint on the tower. She drags Flora back turns him to look at the
in triumph, assuming Mrs. Grose has seen window where she insists
the apparition, and has seen Flora turned Quint has appeared,
towards Jessel and laughing at them. It looking in at them. The two struggle, and
quickly becomes obvious, however, that Miles cries for help as the governess shouts
Mrs. Grose has not seen Jessel, and she at Quint that he will never take Miles away
instead turns on the governess for confusing from her. She commands him again to say
and hurting the poor innocent child. Quint's name, and Miles does so three
times. Then Miles collapses. His little
Mrs. Grose, now thinking that the governess heart, “dispossessed,” has stopped.
is insane and dangerous, attempts to leave
with both the children, until the governess
threatens to reveal that Mrs. Grose lied to
the magistrate. Mrs. Grose, defeated, takes
Flora away and leaves the governess alone
with Miles.

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THE STORY! PAGE 7

Class & English Society

Henry James wrote the novella The Turn of the Screw in 1898. English society in the late
Victorian period was still structured along class lines, with noble, upper-class families
owning most of the country's land and wealth. English gentlemen, including Miles and his
uncle, but not Peter Quint, received the best education money could buy, first from
governesses, then at prestigious boarding schools, where they learned the knowledge and
skills they would need to run the country. English gentlewomen, also called ladies and
noblewomen, including Flora and Miss Jessel, were educated as girls by a governess. Those
of the lower class, who did not receive an aristocratic education, survived with whatever
jobs they could do. In The Turn of the Screw, we see Peter Quint and Mrs. Grose making a
living by serving the great houses of the rich. There are presumably many other workers at
Bly—maids for cleaning, stablemen for the horses, cooks and so on—but they do not
appear in the story (except the maids: Mrs. Grose implies that Quint seduced many of
them). The professions that are mentioned in the story are explained here:

Gentleman: A man of noble family. In England this meant someone descended from the
nobility (also called the aristocracy). They were usually wealthy and powerful, with large
houses and a small army of servants. Some had important positions in government or
business, but some did not work at all and lived entirely off interest from investments.
However, by this time, it was possible to have noble blood and be poor, or rich and of
common blood.

Lady or Gentlewoman: A woman of a noble family. Most came from wealth and did
not work; rather, their profession was to be sociable and attractive, and to marry a 19th century valet & housekeeper
gentleman. Traditionally, ladies marrying gentlemen needed a dowry, or a large sum of
money or land given to the gentleman by the lady's father. Young women of noble birth
but small means, like Miss Jessel, often could not afford to marry a gentleman, but also
could not marry a commoner without a social backlash (note the governess’s horror when
she discovers that Jessel, a lady, was associating with Quint, a commoner).

Magistrate: A government official in charge of investigating and prosecuting crimes (sort

of a mix between a detective and a judge).

Parson: A country priest of the Anglican Church. Though respected and well-educated,
a parson was not wealthy and important like bishops or those in charge of big-city parishes;
rather, parsons spent most of their time ministering to common people.

Governess: A young woman of good education, and perhaps of a noble family, whose
family does not have a lot of money. A governess was in charge of the education of the
young ladies of a great house and is the authority in the house if the house's owners are not
present, as is the case with Bly.

Valet: A high-ranking servant like the housekeeper, the valet helped the master of the
house dress and arranged his travel. He worked with the master of the house closely, and
could become a favorite, as was the case with Quint.

Housekeeper: Usually an elder woman who has served the house for many years, the
housekeeper was head of the maids and the common staff. She was responsible for the
condition of the house and children.

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Activity: The Power of Language

Divide the words below into two categories—“high-status” and “low-status”.

With which character traits are the words in your high-status category associated? Goodness? Refinement? What about the
traits in your low-status category?

noble, common, aristocratic,

upper, mean, gentle, vulgar,
base, high, menial

HIGH STATUS LOW STATUS

It is interesting that these words originally noted a person’s social standing, but now carry bias and judgment when we use
them.

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THE PLAY! PAGE 9

Adaptation
The version of The Turn of the Screw produced by Two Turns Theatre Company was written by contemporary playwright
Jeffrey Hatcher. The play is based on a story written almost 100 years earlier by Henry James.

So was the playwright just copying novelist’s work? No. Jeffrey Hatcher adapted James’s novella for the stage. When an
author adapts a piece of literature, he or she often reinvents the work in a new medium. Are you aware of any
adaptations? Are you familiar with any books that
have been adapted into movies? Movies that have
become stage plays?

When adapting The Turn of the Screw, Hatcher took

a unique approach performed by two actors: a man
and a woman.

• Why might Hatcher have decided to have the

woman play the Governess while the man plays
all of the other characters?
• Why do you think he specifies that an actor
create the sounds in the play, rather than relying
upon recorded effects?
Henry James Jeffrey Hatcher
• What are the major differences between the
mediums of the novella and of the theatre?
• Do you think Hatcher effectively reinvented this story for the stage?

“We decided early on that the play would be performed on a bare stage without
props and a cast with just two actors: a woman to play the Governess, and a man
to play all the other roles. It allowed us to theaticalize the narrative and move it
away from ‘drawing room’ adaptation.”

- Jeffrey Hatcher

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Activity: From Page to Stage

The Turn of the Screw wasn’t the only ghost story 19th-century readers would have known. American literature at the time
had several spooky tales that might just be stageworthy. Chose one of the passages below and a a production parameter
from the following page. Adapt your passage into a stage scene to be performed for a live audience. As you write, let your
production parameter stimulate your creativity! (For an extra challenge, combine two or more production parameters!)

!“!e immedia" cause, however, of #e prevalence of supernatural s$ries in #ese parts, was doubtless owing
$ #e vicini% of Sleepy Ho&ow. !ere was a contagion in #e very air #at blew 'om #at haun"d region; it
brea#ed for# an atmosphere of dreams and fancies infec(ng a& #e land. Several of #e Sleepy Ho&ow
)eople were present at Van Tassel’s, and, as usual, were doling out #eir wild and wonder*l legends. Many
dismal tales were $ld about *neral +ains, and mourning cries and wailing heard and seen about #e great
+ee where #e unfortuna" Major Andr, was taken, and which s$od in #e neighborhood. Some men(on was
-ade also of #e woman in whi", #at haun"d #e dark glen at Raven Rock, and was of"n heard $ shriek
on win"r nights before a s$rm, having perished #ere in #e snow. !e chief part of #e s$ries, however,
.urned upon #e favori" spec+e of Sleepy Ho&ow, #e headless horseman, who had been heard several (mes
of la", pa+o&ing #e coun+y; and, it was said, "#ered his horse nightly among #e graves in #e church-
/ard.” – The Legend of Sleepy Hollow by Washington Irving

“Gasping for brea#, Rhoda, in a last despera" e0ort, swung out her right hand, seized #e con'on(ng
1pec+e by its ob+usive left arm, and whirled it backward $ #e 2oor, star(ng up herself as she did so wi#
a low cry.

'O, merci*l heaven!' she cried, si3ing on #e edge of #e bed in a cold sweat; '#at was not a dream - she was
here!'

4he could feel her antagonist's arm wi#in her grasp even now–#e very 2esh and hone of it, as it seemed.
4he looked on #e 2oor whi#er she had whirled #e spec+e, but #ere was no#ing $ be seen.

5hoda Brook slept no more #at night, and when she went milking at #e next dawn #ey no(ced how pale
and haggard she looked. !e milk #at she drew quivered in$ #e pail; her hand had not calmed even yet,
and s(& retained #e feel of #e arm, She came home $ breakfast as wearily as if it had been supper-(me.”
– The Withered Arm by Thomas Hardy

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THE PLAY! PAGE 11

PRODUCTION PARAMETERS

Performed as a one-person show

Performed only in pantomime

Performed for middle-school students

Performed by middle-school students

Performed outdoors

Performed in a non-traditional space (specify)

Performed without props, sets or costumes

Your notes:

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THE PLAY! PAGE 12

Activity: The Director’s Vision

Now that you’ve written your stage adaptation, it is time to get your scene on its feet!
Exchange your scene with a partner and have a conversation about the choices you made
as a playwright. You and your partner will direct each other’s scenes in a performance to be
shared with your class.

As the show’s director, your job is to create a lens through which the audience will see the
play. How closely will you follow your playwright’s instruction? What choices will you make
for things not specified in the script, such as costumes, lighting,
setting and atmosphere?

GET TO WORK!
Once you’ve decided on your approach, you will need to cast
your play. Assign roles to your fellow students and be sure each
of your actors has a script.

Next, have a conversation with your cast about your vision for
the show and answer any questions your actors have. All good
directors are strong communicators and excellent listeners.

Your first rehearsal should be a read-through of the script. Give

your actors a chance to say the words aloud and answer any
questions they have so that they are confident in their
understanding of the scene.

When you’ve completed your read though it is time to mount

your scene! Arrange furniture in your classroom into a set that
supports your vision for the performance. Next, you’ll begin
blocking your scene, or directing your actors’ physical Vince Gatton as Miles
movement around your stage.

After your actors are off-book, or have memorized their lines and blocking, you are ready
for dress rehearsal. Your dress rehearsal is your final practice before you perform for an As the show’s
audience; it should include any props, costumes, sound and lighting you intend to use. director, your job is
to create a lens
OPENING NIGHT
Now you’re ready to present your scene for the class! Were you able to successfully
through which the
communicate your vision to the audience? Was your playwright happy with the choices you audience will see the
made? Did any of your classmates’ scenes inspire you to take a different approach to your play.
adaptation?

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Activity: The Trial of the Governess

Our play ends with a lot of unanswered questions. Did the Governess go mad, or were
Quint and Jessel really haunting the children? What did Miles do to be expelled from
school? Did the Governess kill Miles, or was his death the result of something supernatural?

TAKE IT TO COURT
Divide your class into three groups. One group will defend the Governess and argue that
she has committed no crime; her actions were justified as the children and the estate were
clearly haunted by Quint and Jessel. Another group will prosecute the Governess, arguing
that ghosts are not real and that young Miles died by her hand. The third group will serve
as the jury and must carefully consider the cases and evidence presented by both sides. Your
teacher will assume the role of the magistrate and will maintain order in the court and
sentence the Governess according to the jury’s decision.

Use the text as evidence to support your case (the script

can be purchased at [Link]). Both sides are free
to call characters in the play as witnesses (improvised by
members of your group), but remember your opponents
have the right to cross-examine your witnesses as well.

The jury’s job is to remain unbiased and reach a

conclusion based solely upon the cases and evidence
presented by each side. The majority of the jury must all
agree on a ruling.

Your notes:

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THE SITE! PAGE 14

The Merchant’s House Museum

NEW YORK CITY’S ONLY FULLY PRESERVED 19TH-CENTURY HOME

Our production of The Turn of the Screw Complete with its original furniture, In 1832, when the Merchant’s House
isn’t a typical theatre-going experience. decorative objects, clothing, and was built, elegant Greek Revival row
This piece of site-specific theatre is personal memorabilia, the house offers houses of red brick and white marble
performed in a period home preserved an rare and intimate glimpse of flanked the tree-lined streets of this
as it was in Henry James’s era. By domestic life from 1835 to 1865, during fashionable residential enclave, known
presenting the show in such an the pivotal era of the mid-19th century then as the Bond Street Area. At mid-
environment, the director was able to when New York City was transformed century, cast iron construction made its
create an authentically eery mood from a colonial seaport into a thriving first appearance with the founding of
while adhering to Hatcher’s artistic- metropolis. The Cooper Union. Commercial
vision of the play. What’s more, The buildings and factories gradually began
Turn of the Screw audiences have ben The Neighborhood to dominate the area. By the 1880s
introduced to a hidden New York City The NoHo Historic District, wealthy residents moved uptown,
landmark, many for the first time. designated in 1999, includes completely abandoning the
approximately 160 buildings, 11 of neighborhood. By century’s end, Louis
The House which are distinguished as individual Sullivan’s 12-story steel-framed office
Built in 1832, the Merchant's House NYC Landmarks. Taken together, these building was scraping the sky on
Museum is a unique survivor of Old 11 buildings tell the remarkable story of Bleecker Street.
New York. Just steps from Washington the economic, social, and technological
Square, this elegant red-brick and forces that transformed New York Today, Historic NoHo is once again a
white-marble row house on East Fourth during the 19th century. very fashionable place to live, work,
Street was home to a prosperous shop, and dine, proving that history
merchant family for almost 100 years. does indeed repeat itself !

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THE SITE! PAGE 15

Seabury Tredwell Eliza Tredwell Gertrude Tredwell

THE FAMILY continued to live in the house until she died

An importer of hardware with a business in an upstairs bedroom in 1933. The house
downtown on Pearl Street, near the South was opened to the public as a museum in
Street Seaport, Seabury Tredwell was a
Over the years, as
1936.
typical wealthy New York City merchant of the city continued to
the first half of the 19th century. THE MUSEUM grow and fashion
The architectural and historic importance changed, the
In 1835, he and his wife, Eliza, moved their of the Merchant's House has been Tredwells' neighbors
large family of seven children, two boys and recognized by numerous landmark
gradually
five girls, into the red-brick and white- designations:
abandoned the
marble row house located in the Bond
* 1936, documented by the Historic neighborhood for
Street Area, near Washington Square, just
north of the rapidly growing city. Since the American Buildings Survey more elegant houses
1820s, this exclusive residential suburb had "uptown." But the
provided a refuge for wealthy merchants * October 14, 1965, designated by the New Tredwells remained.
who wanted to escape the commercial York City Landmarks Preservation
congestion of lower Manhattan. Commission as one of the first 20 New
York City landmarks
In 1840, five years after the Tredwells
moved to East Fourth Street, an eighth * 1965, designated as a National Historic
child, Gertrude, was born in the house. Landmark -- one of only 2,000 in the
Over the years, as the city continued to country
grow and fashion changed, the Tredwells'
neighbors gradually abandoned the * December 22, 1981, designated as a New
neighborhood for more elegant houses York City interior landmark
"uptown." But the Tredwells remained.
Gertrude Tredwell never married and * Listed on the National Register of Historic
Places.

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A Real-Life Ghost Story?

The Ghosts
Some say the Tredwells, who lived in this house for nearly 100 years, are still
here. Gertrude Tredwell, in particular, is thought to be watching over her
family home. Born in an upstairs bedroom in 1840, Gertrude
never married and lived her entire life here until she died, at
the age of 93, in 1933. She was the last member of the
Tredwell family to occupy the house before it became a
museum, in 1936.

Since the 1930s, tales of strange and unexplainable happenings

have surrounded the Merchant's House. Staff, volunteers,
visitors, neighbors, even passersby, have reported seeing,
hearing, and smelling things that weren't there.

Over the years, a number of psychics and paranormal

investigators have visited the site, but their findings have always
been inconclusive. In 2006, the Museum decided to mount its
own investigation with the help of Historic Paranormal
Investigations, a NYC-based group. The evidence is mounting
that, indeed, something is here.

Since the 1930s,

tales of strange and
unexplainable
happenings have
surrounded the
Merchant’s House.

Staff, volunteers,
visitors, neighbors,
even passersby, have
reported seeing,
hearing, and
smelling things that
weren’t there.

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PARTNERS & RESOURCES! PAGE 17

About Us
TWO TURNS THEATRE COMPANY produces intimate theatre in unusual places. Inspired by The Turn of the
Screw, Two Turns engages classic writers and new takes on classic work. The company is committed to creating new
audiences, supporting lifelong learning, and keeping overhead low in order to funnel revenue to partner cultural
institutions. Two Turns Theatre Company is fiscally sponsored by Fractured Atlas, a non-profit arts service
organization.

THE MERCHANT'S HOUSE MUSEUM (NYC Home of The Turn of the Screw) is the only family home in
New York City preserved intact, inside and out, from the 19th century. Considered one of the finest surviving
examples of architecture from the period, it has been recognized as a National Historic Landmarks (one of only
2,000) and is listed on the National Register of Historic Places. In New York City, it has been awarded landmark status
not only for its 1832 late-Federal brick exterior but also for its Greek revival interior rooms. The Merchant’s House
Museum’s mission is to educate the public about the domestic life of a wealthy merchant family in mid-19th century
New York during the three decades before the Civil War, 1832-1861, when New York rose to prominence as the
commercial emporium of America.

THE HENEGAR CENTER FOR THE ARTS (Brevard Home of The Turn of the Screw) was born from the
vision of a dedicated group of community leaders. As the deterioration of two historical buildings in downtown
Melbourne became increasingly apparent, a small group formed the Brevard Regional Arts Group (BRAG) to revive
the treasured landmarks. The buildings, formerly public schools, were donated by the Brevard County School System
to BRAG for transformation into cultural arts facilities. The Henegar Center for the Arts was thus born, named for
Ruth Henegar, beloved principal for whom the original middle school was named in 1963. The programs and events
of the Henegar Center for the Arts are sponsored in part by the Brevard County Board of County Commissioners
through the Brevard Cultural Alliance, Inc., and the City of Melbourne.

THE FLORIDA HISTORICAL SOCIETY is the oldest cultural organization in the state, and the only state-wide
historical society. Established in St. Augustine in 1856, the FHS was briefly inactive during the Civil War and
Reconstruction, but was reestablished in 1902 and incorporated in 1905. The FHS is dedicated to preserving
Florida's past through the collection, archival maintenance, and publication of historical documents and other
materials relating to the history of Florida and its peoples.

Visit these Websites for More Information

The Turn of the Screw Resources
The Henry James Resource Center: [Link]/james/
History of The Turn of the Screw Critical Interpretations: [Link]

New York City Partner Resources

Two Turns Theatre Company: [Link]
The Merchant’s House Museum: [Link]

Brevard County Partner Resources

The Florida Historical Society: [Link]
The Henegar Center for the Arts: [Link]
Brevard Cultural Alliance: [Link]

V.1 © 2010 Two Turns Theatre Company [Link]

This Performance Guide was written by Joseph McCormack and Lisa Mitchell. © 2010 Two Turns Theatre Company