Patrick Hamilton's classic 1939 potboiler receives a first-rate, Broadway-quality production at American Conservatory's Stage Door Theater. The talky thriller, made into a popular movie with Ingrid Bergman and Charles Boyer, became the prototype for our contemporary psychological drama, paving the way for such saw-horse vehicles as The Shrike, The Little Foxes and, of course, The Heiress. The term "gaslighting" was coined after the original production, meaning "convincing someone what they see isn't there."
Details are very much there in ACT's production, with gowns and ascots matching the fabrics of the immaculate Victorian parlor, and Peter Maradudin's lighting casting its eerie glow. The Mr. Manningham of Charles Lanyer lacks matinee idol looks but has magnificent vocal power, which intimidates and even terrifies. Julie Boyd's a look and sound-alike for Judith Evelyn, who originated the role of the wife slowly driven mad by her sadistic husband. Thumping noises and constantly dimming gaslights, along with hints from Mr. Manning and the two maids (Sharon Lockwood & Mollie Stickney), help convince her that she's abused the family dog, lost things and imagined non-existent events. A sly detective (William Paterson) arrives to create a subplot: he wants to catch the devious husband, who's suspected of killing another wealthy lady in the same house. Talk talk talk abounds, but we do get a wonderful showdown between wife and husband.
Director Albert Takazauckas should be commended for breathing life into this gorgeous museum piece, though he might explore the two lead roles more actively (e.g., might there not be utter theatrical joy on the villain's part at discovering just how truly wicked he is?).
