Gaslight

‘Gaslight’ is a play by Patrick Hamilton, which was used as the basis for a 1944 film starring Ingrid Bergman. Even the very phrase ‘to gaslight’ has entered the vocabulary as a psychological term for describing narcissistic individuals who deliberately confuse and mislead their victims for their own benefit.   Adele Simpson, in her debut directing role, transports us back in time to Victorian England with a nerve-jangling psychological thriller.

The story centres around Bella and her husband Jack Manningham, who have recently moved into a property in London.  Bella is convinced that the gaslights in the house are dimming, but her husband insists that this is all a figment of her overactive imagination.  When we meet Bella, we see from her body language she is a bag of nerves around her husband Jack, clasping her dress, her voice faltering in her conversations with him and hardly making eye contact.  Jack on the other hand is masterful and composed speaking in a controlled measured even tone, so we note that it is what he says and not how he says it that has the main effect on his wife. 

Jack flirts outrageously with the impertinent maid Nancy further embarrassing poor Bella who longs for his affection and approval.  When Jack suggests a trip to the theatre, Bella is delighted and overjoyed finally she is going to go out with her husband - but then the atmosphere abruptly changes.  

Jack notices a picture missing from the wall and his mood becomes angry and accusing.  Poor Bella is distraught pacing around the room, waving her arms and stammering with anguish. Could she have hidden the missing picture? A reference to her mother’s insanity confirms this could be the case.  Bella is obviously deluded and gradually losing her mind due to heredity madness.  A further missing item, a grocer’s bill, sends Bella spiralling as she searches desperately for the invoice.  When she finally locates the picture, it is further evidence that Bella is the perpetrator and is suffering from kleptomania, playing tricks on her poor husband.  Jack then collects his hat and cane and leaves for the evening. 

Poor Bella is alone with the kindly maid Elizabeth who tries to comfort her and informs her that she has a visitor waiting to see her. 

The mysterious visitor is a retired police inspector Rough, who has a very intriguing tale to tell Bella.  Rough questions Bella about her husband and she tells him about the strange noises she hears when her husband goes out at night and the dimming of the gaslights on the walls.  To her surprise, Rough actually believes Bella and gradually gains her trust.   She also tells him about an injured dog which her husband accused her of hurting and other missing items, vanishing keys and the disappearing picture. 

Rough tells Bella about a horrifying unsolved murder case he was investigating twenty years ago.  A Alice Barlow, an eccentric wealthy woman, had been violently murdered and the property burgled, but what could this possibly have to do with Bella?  Inspector Rough gradually embellishes his story building tension to reveal the horrible truth – Bella is living in the murder house, and her husband is the suspected murderer still searching for the missing priceless Barlow rubies.  

Together Rough and Bella break into Jack’s bureau and in a hidden drawer they find the missing grocer’s bill plus other items Jack has convinced Bella she had lost, including an intriguing piece of jewellery. 

Jack returns and realises his bureau has been ransacked and his cruel plan exposed but he has one more trick up his sleeve to convince poor Bella that she really is losing her mind. 

Some very powerful performances from all, as the cast worked together to create a pacy drama, building the tension with every new revelation. The maids acted as support in the household used as pawns in the jack’s manipulative mind games.  Natasha Lowes as the flirty, flighty Nancy, was on the side of her master and Natasha played the part well showing disdain for Bella through her facial expressions and impertinent responses.  Her seduction scene with Jack was performed well showing she had designs on becoming the next Mrs Manningham, Elizabeth was the loyal maid supporting Bella but being equally careful not to inflame Jack’s temper, as she tried to cover for her mistress and Marie Holmes showed a calm, controlled approach to the role.

Jerry Smith played Inspector Rough with a whimsical impishness as he finally gave Bella back her sanity. Jerry provided some much-needed humour as he encouraged Bella to drink his ‘ambrosia’ and added copious sugar lumps to his tea.  He was clearly a man who was not prepared to allow Jack to continue torturing his wife and his delight at exposing this monster for what he was, was wonderful to see.  Jerry stayed in character even when faced with a line ‘fluff’ and he is to be commended for this using his character’s absent-minded detective mannerisms to get the action back on track. 

Cheryl Vallely, as the tormented Bella, gave a lovely performance of a woman whose very home had become a torture chamber.  Her body language showed her sheer terror of Jack as he twisted and skewed her grip on reality flinching every time he came near to her.  Her nervy energy was palpable as she spiralled out of control with every cruel jibe and accusation, her actions demonstrating her fragile mental state.   I was also impressed with the way she turned the tables on Jack standing tall with a newfound dignity at the end. 

Jack Mannigham was the worst kind of monster and Chris Liversidge played this very well.  He had the bearing and gravitas of a Victorian gentleman, speaking with a steady measured tone that was made even more effective when he raised his voice at Bella.  He was mercurial switching effortlessly from oily charm to icy cold cruelty with ease.  The scene where he insisted that Bella sit on the wooden chair of his choosing was chilling moving his hands onto her shoulders threatening to strangle her. 

The Victorian themed set was incredibly detailed with imitation ‘gaslights’ that dimmed and brightened all adding to the increasing tension.  The décor was dark and dour all adding to the ominous tone with heavy velvets on windows and on the table.  I was impressed with the ‘real’ fireplace complete with coal skuttle and poker and the extended decorated corridor behind the door featuring visible portraits.  Tiny details such as a lighter wallpaper under the ‘missing’ picture all added to the overall effect and I was delighted to see real sugar lumps and ‘tea’ being used by the cast.  Music was also used very well underscoring the dark revelations heightening the tension.

Costumes were accurate to the time period with Bella in a burgundy satin gown and the maids and policemen (Dan Barrett and Dominic Hinkins) were appropriately dressed.  The men wore suits with brocade waistcoats and cravats with details such as top hat and cane for Jack and a long black overcoat for Rough. 

Well done Adele Simpson for a deftly directed production which had the audience on the edge of its seat.  I was delighted to chat after the show to discuss your vision, and I could see your influence in the overall set design and character motivation building suspense with every line. You clearly demonstrated a thorough understanding of the text and brought it all spine-tinglingly to life on stage. 

 

© NODA CIO. All rights reserved.