Gaslight

“Gaslight” first came to the stage in the 30s. It was an immediate success enthralling audiences on both sides of the Atlantic. A staple of amateur productions it possesses an inherent power to befuddle audiences.  The show’s director, Maureen Nickson, acknowledges the age of the play in her introduction. Moreover I doubt that the majority of the audience wiould not have had some foreknowledge of the plot. 

As the curtain rose there was a spontaneous round of applause. The set faithfully recreating the living room of a late Victorian household,  was immaculate in every detail. The team of set constructors did a fine job. Likewise the costumes in the hands of Carol Buckley accurately spoke of 1890s London middle class comfort. There is a great deal of disbelief the audience has to accept to get the effect of “Gaslight” across. The trick is leave the audience guessing as to whether Mr. Manninghma is as bad as we are asked to believe, or do we imagine that his wife has actually , as hinted by the author, inherited insane tendencies. Any doubts we may harbour on these points are smashed by the arrival of Rough the ex Inspector of police. Following his revelations about Manninghams past the play offers us   a different challenge. Will Manningham return and probably kill his wife, perhaps the inspector too, or will justice prevail?

James Miley as Mr. Manningham made a bold attempt at appearing to be a good guy legitimately concerned for the mental health of his wife. He delivered his lines well and moved with ease around the stage. Could he have been more sinister I wonder? Vincent Price made his name playing this part. James did not instil in us that innate sense of menace and threat so much a  feature of Mr. Prices’ work in horror films. The casting of Bridget Anderson as Mrs. Manninham was a master stroke. She was the epitome of a hard done by yet beautiful loving wife anxious to do the right thing by her monster of a husband. It was a performance of great ability. As Rough, Steve Dobson gave us a commanding assured character. Elizabeth and Nancy the maids were beautifully realised. Congratulations to Maureen Nickson for understudying so magnificently. Sound and lighting in the hands of Les Green, Ian Buckley and Pete Dewdney were first class.

I enjoyed this play as I know many of the audience I spoke to did also. Yet I confess to not being quite as chilled as I was expecting. This was a well put together offering performed with passion complete with clear unfussy direction.

P.R.M.

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