Gaslight

Gaslight has become such an iconic text that the term has now entered into our cultural psyche and vocabulary to describe a form of manipulative abuse often practiced on women.  The perfidious strategy of controlling someone by distorting reality so that they question their own judgement is, in this play, driven by greed. Bella (Geraldine Hakewill) is newly married to Jack (Toby Schmitz) and they have taken a beautiful home in London where Elizabeth (Kate Fitzpatrick) and Nancy (Courtney Cavallaro) are at their service. Bella’s already nervous disposition appears to have deteriorated. However, there is something suspicious about the way the strange disappearance of valuable objects in the house are so easily attributed to Bella’s supposed mental instability. 

This production preserves many of the gothic and noir elements of the story that have also been strong characteristics of the two film versions of Hamilton’s play. However, this adaptation foregrounds the women characters and casts them in a much stronger and independent light. Hakewill is able to strike the right balance between a fragile but intelligent persona. Her body language suggests she may be feeble, but her mind is sharp and astute. Hakewill also adds humour to her role through the enormous transparency of her facial expressions. Schmitz makes Jack incredibly charming, allowing the audience to establish feelings of empathy and allegiance with him. Cavallaro renders Nancy a perfect interloper, enhancing the mystery of the story. Fitzpatrick is magnificent; she gives her character a very steely temperament, almost as though she is keeping an ace up her sleeve. She has complete command of the stage at every entrance and utterance, and this highlights the very central and compelling nature of Elizabeth’s role in the play.

Hamilton’s 1938 play is set in the 1880s and both the set and the costume design impeccably recreate the era and the dark atmosphere of the play. The costumes are opulent and detailed, allowing the women to rustle across the stage so that the texture of the fabrics becomes part of the performance soundscape. The ornate set design recreates a wonderfully gothic interior, and the depth of the scenery creates a set of grand scale. This setting is also delicately and beautifully enhanced by the moody lighting and music, which often deliberately draw attention to some of the intricacies of the set or the plot. 

The overall effect gives this production an unmistakable sumptuous and imposing quality. The performances are riveting and delivered in a lavish context, keeping the audience gripped from beginning to end. 

Book here.

Patricia Di Risio 

Photographer: Brett Boardman