Gaslight

Over many years “Gaslight” has seen many iterations – two cinematic versions – the 1944 version becoming one of, if not the, definitive psychological thriller, variations stage adaptations from its debut in 1938 and a staple of touring companies and amateur dramatic societies ever since. It has also become part of the popular lexicon in the form of ‘gaslighting’ a term owing its derivation to Patrick Hamilton’s play, put at its most basic it is a term for emotional abuse, where one person seeks to exert control over another by twisting reality – the plot of this classic in a nutshell.

I was intrigued when I first saw Dudley Little Theatre’s promotional material, that this was not going to be the familiar Victorian piece. I was definitely not wrong.

Directors Nic Lawton and Jane Fisher, on the surface, had made some fundamental changes to the usual Hamilton fayre – the play’s setting was pushed forward to the 1950’s, probably the last era when it would have been the middle-class norm for the lady of the household to be subservient to her husband, also it meant that it was an era where gas lighting in houses was no longer relevant, the gender of one of the servants was changed and a younger and more savvy detective performing not only as their character but almost as a narrator for the scene that unfolds. Will these changes work or should he let things alone – well I can tell you that they worked beautifully!

The characters still maintained their Victorian values and traits. Michael Willis’ “Jack Manningham” lulled you into thinking he was a caring soul, only there to support his delicate wife, “Bella” played with great feeling by Shelly Blackmore.  The development of their relationship was subtly handled with only glimpses of the devious manipulation that was to unfold revealed initially.  Michael’s almost instantaneous flipping between the sycophantic and the manic was achieved superbly and made the final denouement all the more chilling and satisfying at the same time. As for Shelly, the audience were painfully on her side, seeing the constant doubting of herself and the anguish that she as going through couldn’t fail to melt even the hardest of hearts. In “Bella’s” eyes, everyone seems to be conspiring against her – for instance, the seemingly loyal “Nancy”, played with great confidence by Julie Bywater gave this character a truly cruel side, constantly sniping behind her mistress’ back and at the same time cosying up to the Master. You were willing for that smug smile to be wiped from her face! The real revelation was the introduction of a male servant, “Elliot”, replacing the Elizabeth of the original. My recollections of the Elizabeth character from previous versions are that whilst sympathetic to her mistress, she really did not want to get involved, whereas Connor McGee’s excellent portrayal, gave the relationship between Mistress and Servant, a much deeper side. You really felt that “Eliot” cared and was going to do his level best to help “Bella” realise that she was not going insane.

By re-imagining the character of the Detective, “Rough”, a defining and engrossing characterisation, executed brilliantly by David Field, gave the production a different edge.  We felt that “Rough” was not only an integral part of the action but he was also the eyes and ears of the audience, giving context and analysis of what was going on and adding a youthful enthusiasm to the investigation. “Rough” did not accept everything on face value and ultimately showed implicit belief in “Bella” and ensuring that the despicably dishonest “Jack Manningham” got his just desserts.

Dudley Little Theatre seem to have now settled into their new home at St. Peter’s Church Hall with consummate ease.  The space does have it’s limitations but these are used to their advantage in “Gaslight”, the claustrophobic set gave ample opportunity for in-your-face confrontations and there not being an opportunity to have your own space. Subtle use of the stage apron gave the audience the chance to feel as if they were the not only observers as the plot unfolded but were also a key part of the action.

Technically, this could be a very demanding production – flickering lights and things that go bump in the night can come sometime come across as tongue-in-cheek but in the capable hands of Dave Holt’s sound design and Richard Clee’s lighting, the audience found themselves equally on edge just like the characters on stage.  Another nod to the 1950’s was the fact that in Victorian times when the lights went out – you reached for the candles, whereas in the Manningham household you would obviously grab a torch – also used to great effect for eerie hand-held lighting effects!

As for the omission of the gas light of the title – the answer is obvious, you replace it with the modern electric light – as we all know from painful experience, the interruption of the power supply can be just as frightening when you don’t expect it!

Sincere congratulations to Dudley Little Theatre and everyone involved in this thoroughly enjoyable and rewarding evening and my most grateful thanks for your kind hospitality as always.

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