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Chase was invited by the Washington Opera Director, Richard Pearlman to collaborate with him on this highly innovative production performed in Washington, D. C. in 1969. Produced on a tiny budget, using a series of films which played during the 15 musical interludes of the opera, and depending on a minimal use of props and sets, the production drew great acclaim, and led the administration at the Washington Opera to continue the exploration of film and projection in their upcoming productions.

The governess is surprised in children's room by an image of Peter Quint.

The story of a governess who arrives in a country estate to tutor two young children (Miles and Flora), takes on frightening overtones as the governess begins to confront the spirits of a former tutor and his mistress. She becomes convinced they have an evil influence on the children's souls. Is she going mad? The work leaves this question unanswered in the same way the original Henry James story did. The production suggested the madness in very real ways: using the theme of light—first through trees as the governess rides in the carraige toward the house, and then in ever more distorted ways to suggest the idea of light growing distored and oppressive. The last confrontation of the governess with Miles took place on a stage covered with lights on stands, suggesting the governess was finally operating in a strange world of her own creation.

A sleeping governess is tormented by the other characters in the opera.

THE NEW YORK TIMES:
Some of the most interesting effects were achieved thorugh lighting alone. The most extraordinary of all the scenes came at the end of the first act when the children awakened at the calls of the two shosts and the form of them, and the governess and housekeeper, all carrying lighted candles, pursuing each other fantically through a maze of mirrors and window frames in what could only be described a a choreography sequence. Scenes like this heightened the aura of mystery and unreality of the production.

The governess trys to reason with a stubborn Miles.

NEW YORK TIMES:
At one point the governess says, "I am lost in my labyrinth". It is her "labyrinth" this production evoked and made one see all too vividly as the work progressed.

In the schoolroom, the governess is frightened by the ghost of Miss Jessel.

WASHINGTON STAR:
The stage direction was terse and clean—no wasted movements, nothing done purposelessly. Believe me, it is a very genuine treat to see such very genuine theater.

The house used for the scenes was an English manor house near Brugges, Belgium.