A deteriorating neo-gothic mansion stands beside a lake, its rotting corners surrounded by a carpet of rose petals. This decaying household’s secrets are best left alone. Don't be fooled, this isn't the latest Hollywood horror, it's the Torch Theatre's chilling set for The Turn of the Screw.

Set and costume designer, Ruth Stringer, describes her creation as “Disturbing. Eerie. Skeletal.” Her design draws on the splendour of the Victorian houses that fill our favourite period dramas, but one that is crumbling, decayed and oppressive. “You get this idea of grandeur, but it’s all fading away,” Ruth explains. “It looks imposing and frightening.”

Her inspiration comes from neo-gothic architecture, installation art and the theatrical landscapes of photographers such as Tim Walker, as well as Henry James himself. Her incredible skeletal design formed of empty window frames, parts of walls and colonnades, as well as beams that clearly once held walls, invites the audience to picture their own version of Bly – the house where the play is set.

The rose petals which surround the set are an important part of the storytelling for this production. “They’re linked to one of the ghostly presences in the play,” she hints. “The story alludes to female sexual repression in the Victorian era. The rose petals connect symbolically to that. We’ve been keen to use real, sustainably sourced petals rather than plastic ones”. This sustainable approach is central to Ruth’s creative work.

One of the boldest features of Ruth’s design is the element of water in the show. “The story features a lake, so Chelsey and I wanted to bring that to life onstage. However, we didn’t want it to be just a feature, we wanted it to interact with the set and reflect the themes of the play throughout”. The presence of water onstage also adds something exciting and potentially dangerous to the action, increasing the level of suspense to the play.

Discussing her design process Ruth emphasises the importance of collaboration. The Torch Theatre’s role as the only producing house in west Wales is key to this, with set building and painting all happening under one roof in their on-site workshop.

The most exciting part, Ruth says, will be seeing how audiences respond: “My job is to help the audience connect with the story visually. If the colours, textures, and atmosphere deepen the experience, even subconsciously, then we’ve done our job.”

She hopes people notice the subtleties of the design, particularly the use of colour. “There’s a play of saturation and de-saturation that builds atmosphere. Even if audiences don’t consciously pick it up, I hope they feel it.”

Ruth, and director Chelsey Gillard, know that the design, will provide the perfect atmosphere for a play which will leave audiences questioning – was it their imagination, or terrifying reality?

The Turn of the Screw will appear on the Torch Theatre stage for a three week stint from Wednesday, October 8 to Saturday 25 October. To book tickets via the website, visit torchtheatre.co.uk or call 01646 695267.