Performance Run: Friday 6th to Saturday 14th January 2017

Performance Reviewed: Tuesday 10th January (Gala Press Night)

As an increasingly distressed Bella Manningham (Kara Tointon) desperately attempts to clutch at her last footholds on reality mid-way through Gaslight, it isn’t surprising to find much of the audience likely doing the same, though perhaps overly so. In our mystery-saturated age of big-budget BBC Agatha Christie Christmas serials (2015’s And Then There None, the recent Witness for the Prosecution), we have become so conditioned to doubt, question and second-guess everything we are shown as an audience that there is something disarmingly simple and effective about Gaslight

Our aforementioned protagonist may or may not be going mad. Her husband may or may not be responsible. The young, sassy maid may or may not have an agenda. And of course, there’s the obligatory arrival of a detective unfamiliar to any in the household and determined to throw some serious spanners into the equation.

So far, so Christie. But, without wanting to spoil any of the specifics, what makes Patrick Hamilton’s long-standing piece such an intriguing and gripping watch to this day (having debuted way back in 1938, no less) is not in labyrinthine motives or convoluted plot contrivances, but rather its innate simplicity and focus; this is a character study front and centre, and a wonderfully observed one at that.

Yes, there’s a mystery or two abound that require unravelling - what is causing the wax and wane of those titular gaslights? - and an increasingly ominous and sombre tone is introduced as the story progresses that at times tiptoes into being plain creepy, but the main attention here is on character, and the fraught, complicated marriage of Bella and her husband, Jack (Rupert Young). 

So those going in expecting a Woman in Black clone will likely find themselves disappointed; there's shades of spookiness dotted here and there, but this is not outright horror by any stretch of the imagination. But, thanks in no small part to its terrific trio of leads, it is a compelling, intriguing and at times enthralling watch. 

Former Eastenders and Mr Selfridge star Kara Tointon pitches her portrayal of Bella Manningham very cannily indeed - finding a delicate line between being sympathetic and compassionate, whilst still offering shades of instability and an occasional touch of whimsy which, as mentioned, has the audience questioning everything right alongside her. Tointon has repeatedly proven herself a reliable, engaging leading lady in Theatre, and her work here is no exception. She holds the show together beautifully and crafts a memorable, dimensional character out of an almost 80 year old role.

Keith Allen steals scenes aplenty and brings an unexpected (yet very welcome) injection of levity and humour to the piece as an intrusive detective who enters the Manningham’s home in the hopes of uncovering old truths. Allen is fantastic throughout, another reliable acting stalwart who keeps the audience in safe hands and plays both the serious and funny with equal relish and aplomb. Rupert Young, meanwhile, has arguably the hardest job to do in pitching his role as the potentially abusive husband figure, but the domineering Young towers on the stage and gives a confident, savvy and assured turn which keeps everyone guessing right up until the finale.

This is also a classy, sophisticated slice of theatre in terms of aesthetic and design. Production values are evidently high, and the flourishes and touches of David Woodhead’s authentic staging and set design, Siobhan Boyd’s costumes and Howard Hudson’s evocative yet unobtrusive lighting are felt throughout. The fireplace gently billows actual smoke. The tea the maid brings in lets off actual steam. They’re delicate touches, yet ones too often sacrificed on the larger canvas of theatre and yet here, confined to the entirety of the Manningham’s front room for the entirety of the two acts, are minutiae which help make the piece feel that little bit more real and impactful.

With enough mystery and uncertainty to keep you second-guessing even yourself until the end, a trio of interesting, distinct leads played beautifully by a fantastic cast (and backed up by some solid supporting turns) in a character-driven piece that remains as intriguing now as it did nearly eight decades ago, coupled with a rich visual overhaul for this latest tour, Gaslight is a compelling throwback to a classier, less trashier era of mystery and intrigue without all that gaudy excess and convolution.

RATING - ★★★★

 

GASLIGHT is running at the NEW ALEXANDRA THEATRE, Birmingham, from Friday 6th through to Saturday 14th January 2017.

CLICK HERE for more information on the show's run at the New Alexandra Theatre and to book your own tickets!

Alternatively, telephone the theatre's booking line direct on 0844 871 3011.

   

Press tickets for this performance of Gaslight were provided courtesy of the New Alexandra Theatre directly. The author gratefully acknowledges their generous invitation.