It’s not uncommon to hear someone say they’re “gaslighting themselves” through negative self-talk, or to discuss “unintentionally gaslighting” someone by dismissing their feelings or telling white lies. A shorthand for a particularly nasty form of abuse, “gaslighting” has arguably become so overused that its meaning has been watered down. However, the play that gave us this term – the 1938 thriller Gaslight – is a reminder to all of us that in its true sense, gaslighting is something far more calculated and sinister.
This adaptation of Patrick Hamilton’s play by respected Canadian writer/performers Johnna Wright and Patty Jamieson has arrived at Sydney’s Roslyn Packer Theatre for the final dates of an extensive national tour. The play revolves around a recently married couple living in a stately home in Victorian-era London, the highly anxious Bella (Geraldine Hakewill; Ms Fisher’s Modern Murder Mysteries) and the doting-yet-preoccupied Jack (Toby Schmitz; Boy Swallows Universe, Amadeus) – only for it to be revealed that all is not what it seems. Spoiler alert: Jack has been ruthlessly manipulating Bella for his own purposes. This dramatic reveal falls somewhat short in 2024, when audiences already know the truth from the outset, but this affords us the opportunity to view the story from a different perspective.
Gaslight is a very realistic study of the effects of emotional abuse, and the way it can take time to let yourself believe that the person you love is actively hurting you.
Jack is neither charming nor charismatic; he comes across as a perfectly ordinary and harmless man who seems genuinely concerned for Bella’s wellbeing. It would be easy for the play to provide subtle nods to his true nature (perhaps by having his facade drop when Bella’s back is turned) but Schmitz’s Jack is terrifyingly consistent to the point where the audience begins to question how he could possibly be so cruel. This, of course, is the point – abusers rarely look or act like monsters, and don’t give us any easy way to identify them.
Bella lives in a constant state of anxiety, and she is wholly dependent on Jack – although, there are occasional glimpses of the strong woman she once was, as she repeatedly refuses to blindly accept everything he tells her. Hakewill uses physicality to great effect, as she trips over a skirt or allows her hands to shake when pouring tea, and she brilliantly conveys the complex emotions and confusion that Bella experiences.
By Act Two, she has begun to cotton on to what is really happening – and there’s a distinctive shift in tone as Bella begins testing Jack’s reactions by making pointed remarks. On Opening Night, these remarks provoked frequent laughter and little cheers from the audience – and while the audience’s reaction was good-natured, this felt at odds with what the character was going through. Far from a joke, Gaslight is a very realistic study of the effects of emotional abuse, and the way it can take time to let yourself believe that the person you love is actively hurting you.
Schmitz’s Jack is unremarkable, and all the more effective for that, convincingly concerned and frustrated in equal measure by Bella’s “crazy behaviour”. When his true motives are finally uncovered, he morphs into someone truly terrifying, and is wholly believable as a ruthless opportunist who will stop at nothing to get what he wants.
Meanwhile, legendary actor Kate Fitzpatrick gives a memorable performance as the dry housekeeper, Elizabeth, and is a joy to watch whenever she is onstage; and newcomer Courtney Cavallaro is highly believable as Nancy, the maid who refuses to merely accept her place in the highly classist society of 19th-century London.
Renée Mulder’s costume and set designs are both period-appropriate and visually engaging, with Bella’s green gown being a particularly stunning highlight (especially when it quickly reappears in a bedraggled form following a storm). Lighting is a large part of Gaslight’s plot, and Paul Jackson’s design ticks all the boxes and heightens dramatic moments effectively. With the entire play taking place in Bella and Jack's ornate sitting room, tricks of light are occasionally the only clues to how much time has passed between scenes, but Jackson's design ensures the audience is never lost.
At times, the pacing of dialogue feels a little odd, with characters frequently interrupting each other. While this may be an intentional choice, it sometimes comes off feeling more like an accident, leading to awkward silences between lines. Jamieson and Wright’s decision to omit the Inspector character empowers Bella, providing the opportunity for her to be the one to uncover Jack’s plan – however, the play lingers a little too long in the intermediary space between Bella discovering the truth and taking action.
Gaslight shows us that the effects of psychological manipulation can be devastating, and are not easy to move past. However, with Bella ultimately taking back control of her life, the play finishes on an optimistic note – she learns that she doesn’t need a man to rescue her, and instead finds the courage to rescue herself.
The national tour of Gaslight is presented by Queensland Theatre and Rodney Rigby for Newtheatricals. It is playing at Roslyn Packer Theatre, Walsh Bay, until September 8. Tickets start at $69.90, and you can get yours here.
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