THE TELL-TELL FLICKERS OUTMANEUVER MADNESS
by Marinell Haegelin
Seldom is a psychological thriller as all-encompassing as Patrick Hamilton’ s Gaslight, 1938. Its many incarnations include Five Chelsea Lane and Angel Street( both are 1941 American plays), and The Murder in Thornton Square( 1944 American film). Hamilton, a successful novelist as well as playwright, garnered onstage experience through a short stint in repertory theater. Director Paul Glaser, taking in stride the play’ s many aspects, exploits the inner folly and the fearsomeness of emotional abuse, while maintaining outward equilibrium amid audio harbinger riffs alerting audiences of approaching villainous action.
The Manningham’ s comfortable early evening pattern is Bella( Marie Wilson), companionable and complacent, doing light wifely chores, while husband Jack( Kevin Johnson) lounges, reading. Even the servant girl’ s impudence can’ t impinge on her happiness. Bella is excited by Jack’ s invitation to a performance by her favorite theatrical actor. During their tea he, yet again, spots something missing and is alarmed. Accusing Bella, any conciliatoriness between them dissipates. It can’ t have been me, she frets. Distraught and desperate in her denial, Bella’ s attempts fall on deaf ears. Mr. Manningham straightaway questions Nancy( Niamh Deasy) and Elizabeth( Claire Morrissey), their quiet, sensible head maid; both swear their guiltlessness on the Bible. Bella does too, mewling her innocence and disavowing his claims that she’ s going mad, like her mother. After issuing an ultimatum, he huffily departs. Later, and with Elizabeth’ s encouragement, Mrs. Manningham receives a caller; through patient, pointed inquiries, he learns enough to introduce himself— Mr. Rough( Ian Bailey), retired police detective. He has a sharp memory, particularly for cold cases. Reassured, Bella is more forthright regarding her suspicions, deductions; intrigued by Bella’ s hypothesis regarding the gaslights, Inspector Rough compliments her detecting skills. When the lights dim, Inspector Rough gets to the crux of their house, and the setup. The measures the detective suggests are unnerving yet mindful of the difficulties involved, and its rewards. With Elizabeth’ s compliance and Nancy’ s dilly-dallying, it’ s the elements of surprise, gamesmanship, and taunts that rule the day.
Gaslight’ s timeless focus on truth, trickery, and trust reattracted Glaser to this play, at this time, citing the ease of being gaslit in present day societies. In the 1880s, women / girls were the property of their husbands / fathers; men could easily control, manipulate, and distort their lives. The casting is sterling; more than 1,000 actors applied from London. Johnson brilliantly portrays Jack’ s malfeasance, manifested by greed, lustful habits, and self-aggrandizement; he’ s the epitome of sleaze as ringmaster of his own fate. Wilson / Bella recognized a personal connection to her character; besides liking the storyline’ s comeuppance element, she
GASLIGHT BY PATRICK HAMILTON IS PLAYING AT THE ENGLISH THEATRE OF HAMBURG
Directed Paul Glaser
CURRENTS 47