THE BASICS: This is a new adaptation of ANGEL STREET, a 1938 hit thriller by Patrick Hamilton. It’s still a period drama, but Johnna Wright and (the Shaw’s own) Patty Jamieson have endeavored to bring the piece more up to date, especially as regards the more advanced and equitable position of women in society. Kelly Fox directs a cast of four. GASLIGHT plays in repertory at the Royal George Theatre (Shaw Festival) until October 8th. It runs approximately two hours with its single intermission.
THUMBNAIL SKETCH: The sitting room of a middle class house on a square in London. 1901. Newlywed Bella Manningham thinks she is losing her mind. She hears strange sounds, does peculiar things she apparently can’t remember. And at night the gas lights dim for no apparent reason… Is she really being afflicted by some unusual disease? Or is there another, more sinister explanation for the strange things going on?
THE PRESENT PRODUCTION at the Shaw is a world premiere. The set-up is about the same, but there are changes in the second act that will be pleasing to today’s theatergoers, particularly women.
Julie Lumsden as Bella makes the whole thing work. Fragile and fearful at the start, yet (as we will see) capable of much more, she delivers the full range of emotions required for an enterprise such as this. Bravo. Andre Morin is also good as Jack, Bella’s toney, duplicitous husband. The basic dynamics of their relationship are sound, although I personally would have liked someone a bit older, and with more in the way of hidden menace, as Jack. Kate Hennig is rock solid as Elizabeth, the venerable old housekeeper. Julia Course rounds out the cast as Nancy, the new, young maid. It’s not a big part, but in her hands, at least, it seemed under-defined.
The somber, red toned set by Judith Bowden is the essence of Victorian gloom. Ms. Bowden has also provided some very elegant period costumes. Bella’s ball gown is especially lovely. The anxious mood of the piece is enhanced from time to time by some wonderful original music by Gilles Zolty, played by a string quartet. I myself would have liked more of it.
Although the first act ambles a bit, director Fox ratchets up the action in act two, providing audiences with a rousing finale.
IN SUM: A fine new adaptation/production of a classic psychological thriller, I will give this well-crafted GASLIGHT a solid…
*HERD OF BUFFALO (Notes on the Rating System)
ONE BUFFALO: This means trouble. A dreadful play, a highly flawed production, or both. Unless there is some really compelling reason for you to attend (i.e. you are the parent of someone who is in it), give this show a wide berth.
TWO BUFFALOS: Passable, but no great shakes. Either the production is pretty far off base, or the play itself is problematic. Unless you are the sort of person who’s happy just going to the theater, you might look around for something else.
THREE BUFFALOS: I still have my issues, but this is a pretty darn good night at the theater. If you don’t go in with huge expectations, you will probably be pleased.
FOUR BUFFALOS: Both the production and the play are of high caliber. If the genre/content are up your alley, I would make a real effort to attend.
FIVE BUFFALOS: Truly superb–a rare rating. Comedies that leave you weak with laughter, dramas that really touch the heart. Provided that this is the kind of show you like, you’d be a fool to miss it!