Review: The Repertory Theatre of St. Louis' Spine-Chilling ANGEL STREET (GASLIGHT)

Every season the Repertory of St. Louis plucks a gem or two from the past to mix in with some of their more current selections. It's undoubtedly a treat when it happens, because there's always something there that rings true with a modern audience. Whether it's a comedy whose jokes still maintain a since of topicality due to our current economic or political woes, or a drama that gives us insight into situations that are still being addressed, the Rep finds these works that are, in a sense, timeless. British writer Patrick Hamilton came up with some interesting and dark works that Hollywood embraced and had success putting up on the big screen. One of those was the play GASLIGHT (another was Hitchcock's ROPE) which changed its name for its American premier to ANGEL STREET. Although already lensed before in Britain, the 1944 Hollywood film version is a classic, featuring the smoothly sinister acting of Charles Boyer subtly menacing our fragile heroine, played by Ingrid Bergman. But now you can see the play as it was originally written, and marvel at how this piece, in the right hands, can still be the same suspense-filled thriller it was intended to be. This is expertly crafted entertainment that will surely get you in the mood for the Halloween season, and I highly recommend it!

Bella Manningham is played with considerable skill by Janie Brookshire, who brings a sense of uneasiness to the role that fits the character well. She's been driven towards insanity by her husband, who puts on an air of concern, even though he's purposefully doing things that make her question her own mind. Brookshire has Bella constantly on the verge of tears with her performance, which requires her to be completely unaware of his shenanigans. But, she proves her mettle later on in the proceedings. Clark Scott Carmichael is less subtle as the villainous Jack Manningham, but this play is designed like a lot of shows and films, with the audience "in" on his intentions, but wondering how it will all play out. Carmichael does manage to convey some degree of sympathy for his wife, but it's obvious he's not become the loving and considerate husband she thought he would be. Especially when he dallies with the servants in flagrant disregard for how it appears. Geoffrey Wade brings considerable charm and understanding to his important role as Detective Rough, who has his suspicions confirmed as he follows Jack to see why he keeps disappearing each night. Amelia White gives off an air of motherliness as servant Elizabeth, while Rachel Kenney's portrayal of the other servant, Nancy, is more flirtatious and sexual in her mannerisms and behavior, making for a good contrast.

I think this play still holds up fairly well, even though laughs are sometimes present when they shouldn't be. And, the fact that we know well ahead of time what's occurring can be a bit of a stumbling block for some. But, for me, it's all about the suspense. It's the old Hitchcock story about what exactly provides the most tension; having a bomb go off in a meeting room, or seeing that bomb planted and then having to wait and see what will transpire as it ticks away and we become more and more aware of the impending doom it will bring. The pressure is actually greater when we know it's there but don't know the outcome. And, that's the case here with ANGEL STREET. Yes, we're privy to certain information, but we're not allowed to feel at ease until the situation is resolved.

Jenn Thompson's direction is straight forward, but that's not necessarily a bad thing. Yes, this is an older work, but it was written to be played a certain way, and Thompson does not veer from that. She is aided greatly by Wilson Chin's great period scenic design, which allows for some multiple levels, and Peter Sargent's lighting, which is properly moody and atmospheric, as well as Rusty Wandall's spot on sound design. David Toser's costumes fit the era portrayed nicely too.

ANGEL STREET (GASLIGHT) is a spine-chiller that will make you want to yell out loud for Bella to "Leave while you can!". But, it's also a true treat that keeps you guessing about what the next turn of events will bring. The Repertory Theatre of St. Louis has constructed another solid production that takes us all the way back to Victorian times. This highly polished presentation continues through November 8, 2015 at the Loretto-Hilton.

Photo credit: Eric Woolsey

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