Ghosts are haunting the Lydia Mendelssohn Theatre this weekend with a gothic opera based on Henry James’ spooky and unsettling novella The Turn of the Screw.

British composer Benjamin Britten’s score is chilling, a perfect screech of modern music to tell the tale of an inexperienced and disturbed governess and two neglected children.

The University of Michigan School of Music, Theatre & Dance Department of Voice & Opera and the Contemporary Directions Ensemble are presenting The Turn of the Screw composed by Britten with a libretto by Myfanwy Piper, March 27-30 at the Mendelssohn. Two casts will perform. The cast from Thursday, March 27, will perform on Saturday, March 29. Another cast will perform on Friday, March 28, and Sunday, March 30.

The opera begins with three people exchanging ghost stories on a chilly Christmas Eve in a manor house. The most complex story is about the timid, anxious governess at Bly House who was hired by the uncle of two unruly children who may or may not be seeing ghosts. The governess is helped and advised by the housekeeper who tells her the story of the previous governess Miss Jessel and Peter Quint, the uncle’s manservant. Both are now dead. The children, a boy and a girl, are having a hard time—and maybe they’re in touch with ghosts.

The governess starts seeing Peter Quint and Miss Jessel everywhere she turns. She becomes distraught but vows to protect the children, who she thinks might also be seeing the ghosts of the deceased lovers.

Britten’s opera was first staged in 1954. The music is tense, emotional, and perfect for a gothic tale that might not be what it seems. Director Chia Patino notes the uncertainty of the story: “We will hear a story with a libretto with some poignant alterations to the original work: the Latin lesson has words, the children sing, and the ghosts speak. Particular attention should thus be given to all those choices. Henry James leaves the story open on purpose, and yet there are two clear ways to read it.  Britten adds a layer that may tilt you further, give you one more turn.”

On Thursday, Jiayu Li sang the role of the governess. She plays the haunted role of someone trying desperately to meet her obligations but with the constant feeling that she is incapable of performing her job and on the edge of madness. Li fills the role convincingly.

Tyrese Byrd sang the part of Peter Quint, villain or savior, and it’s all there in his strong voice. Maitri Alegria White plays Miss Jessel, the governess at odds with her former lover, drawing the troubled children to her from a watery grave. She brings a bite to the difficult role and the fiery presence of a woman scorned.

McKenna Jones sang the part of Mrs. Grose, the housekeeper and the most level-headed person at Bly House. Jones is the steady if concerned voice, quieter and more controlled.

Marisa Redding sang the role Flora, a tease with a haunted look and quivery voice as intended. Sloane O’Neill sang the part of Miles, the most troubled child, being drawn by conflicting forces. The performance moves solidly from troublemaker to frightened child.

Conductor Kirk Severtson leads an excellent ensemble. Britten’s music is challenging. The ensemble includes harp, piano, flute, oboe, dynamic percussion, and more. The ensemble will be at all of the performances.

The ensemble deserves to be named: Kirsten Lee, violin 1; Yvonne Lee, violin 2; Jóia Findeis, viola; Sarina Zhang, cello; Damian Rutti, double base; Lydia Wu, flute; Lillian Mathews; oboe; Daniel Millan, clarinet; Ella Hebrard, bassoon; Lillian Sears, horn; Aidan Marckel, percussion; Beth Henson, harp; Raphael Chou, piano; John Morefield, piano. Assistant conductors were Francisco Fernandez and Michael Roest.

Kevin Judge’s flexible, abstract shifting walls are not the traditional gothic, English manor house set, but have a modern gloominess that seems right for a horror story. The set allows for a spooky lake, an overpowering moon, and scary mirrors.

The cast members for the Friday and Sunday performances are Alexander Nick as Quint; Christine Parson as the governess; Haley Hunt as Miles; Francesca Herrera at Flora; Danielle Casos as Mrs. Grose; and, Jennie Rupp as Miss Jessel.

Hugh Gallagher has written theater and film reviews over a 40-year newspaper career and was most recently the managing editor of the Observer & Eccentric Newspapers in suburban Detroit.

"The  Turn of the Screw" will be presented at 8 pm on March 28-29 and 2 pm on March 30 at the Lydia Mendelssohn Theatre, 911 North University Avenue, Ann Arbor. For tickets, go to tickets.smtd.umich.edu or phone at 734-764-2538.