Gaslight

It is quite an achievement to have written a play which actually led to accepted psychological terminology, but that is what playwright Patrick Hamilton did. It is interesting to read in the programme that he was born in Hassocks, which of course is very local to Ditchling. Written in 1938 this play is set in a much earlier time, and it is gratifying to see the set was absolutely authentic, from the colours to the period furniture, from the fire place to the sideboard and the pictures on the walls. It was a shame that the mysterious locked bureau was turned away from the audience so we couldn’t see inside it once they had got it open, especially as it had clearly been filled with everything plot and period appropriate. Use of props was also excellent: it looked like real tea in the teapot, the crockery and every set piece was deliberate: it looked like a home at the turn of the last century. The gaslight effect, where the term comes from of course, was wonderfully achieved with practical lights in place on the walls of the set dimming accompanied by subtle changes in the overall lighting, giving a really lovely effect. This is essential to the piece of course, and wonderfully done.

The story itself is powerful and thought provoking: a woman being pushed to the brink of sanity by a manipulative and controlling husband who is intent on a secret purpose we discover as the story unfolds. The Inspector’s explanation of who the husband really is, is shocking. It is suddenly apparent that the husband’s motivation in the treatment of his wife is not just a power play but a way to make her doubt the evidence she sees of his strange behaviour: even though she doesn’t tell him about the tell-tale gaslight dimming, he has her completely doubting herself and if anything she sees or experiences is real.

Karinn Grierson was super as Bella Manningham, barely off the stage, her fragile energy holding it all together beautifully. Her costume was absolutely stunning, and she carried it wonderfully: hair and makeup completely transformed her into an utterly believable Victorian lady. She showed some good emotional transitions, from adoration to jealousy to fear and panic, but with Victorian mutedness, which was a lovely mature choice. Robson Ternouth as her horrible husband Jack played cool and calm very well and was genuinely scary in the moments where his rage took him over and he shouted. The physical choreography of the domestic violence and a horrible throttling scene was done really very well indeed. The term gaslighting is an aspect of a Narcissistic personality type, one of the qualifying characteristics is rage, and another is charm, and this push / pull is reminiscent of the effect of an addiction, which is why many people stay having a narcissist in their lives: for that rare praise and warmth. In the play this is shown when Jack tells Bella he is going to take her to the theatre, and these bits could have been played with more charm to balance the rage parts: it would then be more apparent as to why Bella was so conflicted to betray him to the Inspector.

Paul Davey brought great stage presence as Inspector Rough, even causing a laugh with the “have you ever been embraced by an elderly Gentleman?” which was lovely. He had his script with him on stage having only had the role for five weeks which unfortunately did stop the flow in quite a few sections from the audience perspective, even despite the audience’s forgiveness and understanding. Joanne Stace played the status card very well as the impertinent maid Nancy, including one of the best stage kisses ever with Robson, acting like the Lady of the house, not the maid. All the costuming was superb, but hair with this character didn’t quite fit, as it would have been up when she was on duty as the maid, not down. Dorcas Kalani was simply wonderful as the housekeeper Elizabeth, her characterisation and physical embodiment of the character really made her shine.

Period pieces are not easy to put on as their style can sometimes be very slow to modern audiences, but Director Penelope Bennett has done a top job and it whipped along. It’s an interesting and strangely a very relevant play to choose, and warmly received by a packed house. Congratulations to everyone involved.

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