Gaslight

Gaslighting was the word of the year in 2022 according to mirriam-webster.com. Patrick Hamilton could never have imagined his 1938 drama would give today’s world such a powerful term.  Although written in the 1930s but set in the late Victorian era, it is a play with a message. The author used the play to express his concern about the way some husbands waged nasty and methodical campaigns of mental abuse against their wives.

On the surface Gaslight is a Victorian melodrama, a real potboiler, but it is uncannily insightful and accurate in its depiction of an abusive relationship.  In the play, Jack Manningham manipulates and undermines his wife, Bella. His temper is constantly fluctuating; he dismisses and belittles her and, by turning the lights on and off, starts to make her think she is going mad.

The secret to the success of a production of Gaslight is atmosphere and tension.  As far as the former is concerned St John’s Players certainly succeeded in creating a good and very atmospheric set with the furnishings and feel of a Victorian household.The lighting was excellent, especially with the dimming of the gaslight at crucial and important moments in the play, which added to the gloomy feel overall.  Costumes were good and appropriate to period with the exception of that of the Detective who made a cameo appearance at the end of the play.

The play’s main cast of five are all very different characters and these were all very well drawn and believable.  

In a well-judged performance Larissa Simpson played Elizabeth, one of the maids, with quiet assurance showing care and consideration for her mistress.  Lucy Green was wonderfully mischievous and flighty as Nancy, the under maid .who openly connives with Manningham in his efforts to undermine his wife but in an interesting twist, also attempts, with some success, to manipulate him.  Marc Mari had the unenviable task of sitting in the dressing room for much of the play but he did at least have the opportunity to make a cameo appearance as the detective arresting Manningham. 

Stu Walpole gave the audience a very strong impression of the martinet that is Jack Manningham, oscillating between an outwardly very correct man and a very brusque cruel husband, who was doing his best to convince Bella she was losing her mind, whilst also having an eye for the maid Nancy — as well as other ladies it seemed. 

Lucy Woodcock struck exactly the right note as Bella Manningham, the wife of an apparently wealthy man in a comfortable home it is clear from the start that she is not just under the thumb of her husband but is subject to something more sinister. Lucy’s portrayal of Bella was neatly balanced, her frustration as a person blamed for various items going missing in unexplained and mysterious situations with a feeling she was losing her mind. It was good to see in the final scene how she took command and control of the situation and showed real spirit. An impressive performance.

Completing the trio of principals in the play is Rough, skilfully played by Colin Horne.  Rough a retired police detective who still hankers after solving a twenty-year old murder, is quite a contrast to the upper class, cold Jack. He is a semi-comic character who adds little touches of humour thus enabling him to create a warm and sympathetic approach to Bella.

Directors Martin Hunt and Poppy Saunders had gathered together a really strong team of performers who had a good understanding of the pace of the script, and were able to deliver the tension required for Gaslight.  This was a well directed, atmospheric, absorbing and enjoyable production of this classic physiological thriller. 

© NODA CIO. All rights reserved.