Gaslight

Bournemouth Little Theatre Bournemouth Little Theatre, Bournemouth KD Johnson

22 October 2024

 

Gaslight was written by Patrick Hamilton in 1938 but set in Victorian London in the 1880s. This production, by the Bournemouth Little Theatre, features as part of their “Six of the Best” series of classic British plays for the 2024-25 season. I don’t know how many of tonight’s audience were already familiar with this play in any of its incarnations on stage and screen – but I was not (until tonight).

Jack and Bella Manningham have been married for seven years and moved into a house in London six months ago, having previously lived abroad. Bella is troubled and sickly; she loses some things and moves others without realising that she has done so. She is increasingly concerned with the fact that the gaslights dim after Jack has gone out for the evening and then she hears footsteps in the room above – a room into which Jack forbids her to venture. Bella’s mother turned insane at just Bella’s age and she is concerned that she is going that way too. She takes some medication but it doesn’t seem to help with her anxiety.

Jack appears to be fairly well off – he conducts some unspecified business at his club. He can afford to keep two servants – Elizabeth, the Cook/Housekeeper, and Nancy, an attractive young maid, with whom Jack flirts in front of his wife.

The formerly relaxed and friendly relationship between the Manninghams seems to have deteriorated with Bella’s health and Jack is increasingly critical of her and the fact that she loses things. He goes out a lot at night and leaves her alone with her fears.

Bella’s descent into insanity takes an unexpected turn when former police inspector Rough, arrives. As a junior policeman he was involved in an investigation into an unsolved murder that took place in this very house 20 years ago. He attempts to prove, to an increasingly confused Bella, that Jack is not all he appears to be and that he has some connection with the case of 20 years ago.

As is usual with the performers at the Bournemouth Little Theatre, every word is audible from everywhere in this intimate venue. These seasoned performers project and annunciate so well so that nothing is missed, which is welcome in these days of theatrical and cinematic mumblers. I feel that, in the early scenes, the precise delivery is perhaps a little too deliberate and the dialogue a bit stilted – but that feeling soon disappears and the confined space of the Little Theatre auditorium accentuates the claustrophobic nature of the marital trap in which Bella finds herself on stage. In spite of this dark setting and the emotional drama which ensues, the arrival of Detective Rough with his bottle of “Scottish Medicine” introduces a fair bit of humour – but tension really builds towards the close when we in the audience are on the edge of our seats and scarcely daring to breathe.

Nick Robinson, as Jack, is well cast as a suitably unpleasant and sinister villain but the heavy lifting, in emotional terms, is done by Jordan Sky Finding, as Bella. The contrast between her hysterical distress and anxiety, which is at times quite disturbing, and the upbeat moments when she discovers the letter from her cousin is remarkable.

Bob Rankin carries off the part of Detective Rough with aplomb – managing a huge amount of dialogue and somehow succeeding in comforting this confused young woman who is evidently not following much of what he is trying to explain.

Carole Allen manages to be both subservient and a little insolent as Elizabeth, the Cook and Housekeeper. Her low-class London accent contrasts with the precise tones of Jack and Bella.

Nancy on the other hand, played – and even sung – convincingly by Francesca Mansfield, moves between obsequiousness and insolence. Her contempt for the mistress and cheeky flirtation with the master culminates in a very raunchy seduction scene. A sex scene at the Bournemouth Little Theatre – surely not! Is it my imagination, or has it become rather warm in here?

As usual the actors cannot work their magic without the technical crew. The sound and lighting effects of the gaslights are effective and well handled, while the atmospheric musical effects by Jack Hayton add to the tension – although I think they are a little too quiet. The period costumes from Eclectia Theatre Costumes are excellent – notably Jack’s choice of collar and ties. Director Caroline Burr and the cast and crew have done a great job with this classic British thriller and I look forward to the remainder of this series of six – book early as they tend to sell out.

The show runs again from Thursday 24th, Friday 25th and Saturday 26th October at 7.45pm.

At the time of writing there are just 3 tickets left for the matinée at 2.30pm on Saturday 26th – the other performances are already sold out.