I found one of the most compelling aspects of the performance to be the portrayal of Jack, deranged and manipulative husband to mentally spiralling wife Bella, and harborer of a dark and twisted secret. Addison Arthur’s portrayal of the character felt particularly true to the original, capturing Jack’s calculated and cunning qualities. The actor’s enraged outbursts kept the audience on the edge of their seats, allowing us to empathise with Bella’s existence in a constantly terrifying and turbulent environment in which the domestic mood of the couple switches within seconds. Arthur perfectly encapsulated this crucial role, providing a solid foundation for the riveting plot.
Elizabeth the maid, played by Tehya Sutton, provided refreshing comic relief from the intensity of this twisted tale, expertly landing moments of levity to balance the darker elements of the play whilst masterfully maintaining the tension of subtler scenes. Sutton’s sparks of hilarity were well paired with her counterpart Libby Husband, whose incredibly raunchy Nancy provided yet more witty banter between the uneasy scenes key to the narrative, as well as some tantalising drama. Both actresses at times had the whole room bursting with laughter, a much-needed solace from anxiously holding our breath during Jack and Bella’s more electric interactions.
However, for me the casting and portrayal of other key characters left room for development. The decision to cast a young actress as the wise Inspector Rough, without any costume choices to suggest an older character, jarred against the period costumes and carefully designed domestic set. Rough read more as a mysterious time traveller than an experienced detective, which provided an exciting and engaging character, but one that disrupted our immersion in the story a little nonetheless. It would have perhaps been interesting to see this 1930s play brought into the modern culture along with Grace Sutherland’s energetic and intriguing portrayal of Rough, allowing the audience to be reminded that the struggles faced by characters within the play are still very much relevant today.
Additionally, while Bella’s emotional distress is central to the narrative, I found that her portrayal often came across as one-note. Rather than seeing Bella’s spiral into mental disarray through Jack’s masterful manipulation, we seemingly witnessed her at her worst from the beginning, a state which stayed consistent throughout the play, ultimately limiting the emotional depth of her character. While this evident distress was perfectly encapsulated in Lauren Ferman’s emotive performance, it would have been interesting to see the effects of Jack’s gaslighting take their toll gradually on this initially fragile character, allowing her triumphant trickery in the end to feel all the more satisfying.
The play also seemed to struggle with balancing its tone; the shift between dramatic tension and comedic relief was often unclear, leaving the audience unsure of whether to engage with the story's darker themes or revel in well-timed comedic remarks. Some interactions felt as though they lingered a little longer than needed, causing the story to stagnate as characters patiently waited to move to the next plot point. While the production had its merits, particularly in its impressively versatile utilisation of a five-member cast, the inconsistencies in casting and tone detracted from its overall impact and weighty subject matter. With some refinement in character development and a little more exploration of creative licence, I have no doubt that this cast and crew could eloquently capture the essence of Gaslight's urgent message and suspenseful atmosphere.