Gaslight

Gaslight is of course Patrick Hamilton’s iconic play which gave rise to the phrase ‘Gaslighting.’ Written in 1938 but set in the 1880’s, its popularity amongst Drama Societies is still as current with its message today as it was then. A trip to The Harrold Centre to watch this production, directed by Clare Boniface, assisted by Adrian Boniface and Phil Briggs turned out to be absolute treat with the full house audience completely engrossed in this first-class show.

The set, under the stage management of Mary Chatfield alone was worth the visit. Designed by Chris Chaplin and Geoff Chatfield the attention to detail was second to none. It consisted of dark grey, square, perfectly symmetrical panelled walls, two white panelled doors to the rear and a window stage left. There was also an excellent display with a series of photos in the foyer, depicting the set crew, led by Geoff Chatfield and Alex Williams building the set, which was a very informative insight for the audience.

The furniture was also perfectly appropriate to the period consisting of a table and two chairs, a chaise longue, a bureau and a classic, winged, leather armchair. The piece de resistance had to be the enormous fireplace, which was particularly impressive when Jack stoked it with a poker and all the coals appeared to come back to life. Neat.

Props were also very well sourced by Clare Boniface, with some lovely Victorian framed prints and an enormous ornate mirror positioned above the fireplace. Even the teacups, crockery and silverware looked straight out of the 19th century, and probably were.

Lighting of course is absolutely central to the plot and was very well handled by Chris Chaplin, Paul Alexander and Elliot Chapman. Above the fireplace were two ‘gaslights’ and another on the wall by the window, cleverly lit by the maid using a ‘stage’ candle lighter and dimmed as appropriate to the plot. This worked extremely well except for one amusing moment when we were accidently plunged into total darkness, a little cry of ‘Sorry,’ from the desk and even the cast had a little momentary giggle as the lighting was restored. (These incidents I find add to the show rather than detract)

Sound was by Pete Keely and Ian Pearson and again worked well in the main. A minor nitpick and not sure if it was a sound clue or a real bell, but the bell pull did appear to give up the ghost before the end of the show.

Costumes had obvious had a lot of thought and work put into them by Fran Ross, who clearly knows her subject. Bella’s dress was something to behold in 19th century blue complete with bustle and elaborate shoulders. Both the maids’ and the men’s clothes were equally well thought out. A second very comprehensive handwritten display board in the foyer gave a detailed description of both the construction of Bella’s dress and the history of 19th century men’s clothing. Attention to detail was second to none.

The acting in this was phenomenal and all the cast were riveting to watch. Jude Stacy rode an emotional rollercoaster as Bella Manningham expressing the core message of domestic abuse and gaslighting perfectly. 

Rick Davis as the evil Jack Manningham really does know how to play a baddy, using his piercing eyes so well that the audience almost turned the show into a panto with low good-humoured booing as he returned to the stage in each act and when he took his bow. Job exceptionally well done!

Matt Rowson played the part of Rough in quite a dry manner, which was not only surprisingly appropriate to the plot but also inserted some tension breaking humour. Very well crafted by an experienced actor.

Our two contrasting maids, Elizabeth played by Elizabeth Spurling and Nancy played by Rachel Morrey were again faultless to a tee. The more thoughtful Elizabeth faithful to her mistress and uncomfortable in Jack’s presence, whereas Nancy was the schemer very lacking in morality and naively expecting to better herself by giving in to Jack’s misogynistic advances. Great job ladies.

And finally, our two policemen Ryan Keans and Ethan Leigh dragging a struggling Jack out of the house in no gentle manner. NB.  Mike Allison played a lone policeman on the opening night.

The tension generated by this cast was palpable and you could almost feel it in the audience. Best summed up when Rough unexpectantly appears out of Jack’s dressing room / wardrobe in the final scene and the audience suddenly sat bolt upright resulting in the sound of several empty glasses placed under chairs being toppled over.

So, congratulations to Clare Boniface, her cast and crew for what was a very professional show and thoroughly enjoyable evening’s entertainment. And thank you to the FOH staff and especially Fran Ross who looked after us so well.

 

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