Great direction in a theatrical production is highly underrated these days and the art form suffers greatly from either an absence of it or lack of expertise. The same can be said for great writing. The new revival of Gaslight, currently on tour and playing to packed houses, delightfully has both great direction and great writing.

Penned in the mid-1930s by Patrick Hamilton, the story explores the mental abuse of a woman by her husband, a psychological practice now known as ‘gaslighting’ because of this very play. Although it is set in 1871, the subject matter is as relevant now as then and would not be out of place on a prime time television thriller.

Director, Anthony Banks, stages a captivating production that never loses momentum, despite the huge amount of dialogue. The action on stage is almost choreographed. The characters partner up in a dance of power, as the baton of control is passed around from person to person. David Woodhead’s set presents a perspective that challenges the mind and creates the most amazing acoustics that permit the actors to work without microphones, adding to the authenticity of the setting. It’s a joy to watch a show where the voices come from the performing space, rather than a speaker in the auditorium, and you can here every single word.

It’s a pleasure to see Kara Tointon back at Malvern. She gives an exhausting performance as the tortured wife, Bella, with an historically accurate, melodramatic edge. Rupert Young is unnervingly brilliant as her husband and abuser, Jack, as he keeps switching from protector to persecutor and back again, asserting dominance over his prey. Keith Allen is very likeable as Bella’s rescuer, the retired crime fighter, Rough, who is aided and abetted by the resourceful housekeeper, Elizabeth, perfectly portrayed by Helen Anderson. Charlotte Blackledge is excellent as the feisty maid, Nancy, with ideas well above her station and a single-minded determination that unexpectedly makes her possibly the most powerful character of all. Grace Osborn and Adam Lilley make brief appearances and have the unenviable task of understudying two characters each. The pace and energy of the entire cast is engaging and exciting.

Technically, the lighting isn’t consistent and some of the lighting states are distracting rather than enhancing and the use of underscoring in some of the scenes is completely unnecessary and draws focus away from the acting, at times. The costumes, however, are stunning.

Gaslight is testament to the importance of superb directing, writing and casting. It runs at Malvern Theatres until Saturday and is definitely worth seeing.   ★★★★☆    Rob Holcroft    28^th February 2017