By Britin Haller
The following review contains a spoiler already alluded to in the production’s publicity.
Let’s just get this out of the way. Anyone going to the Maltz Jupiter Theatre’s 20th season opener of Deceived hoping to see their parent’s version of Gaslight will be sorely disappointed. Because while this U.S. premiere of a new adaptation by Johanna Wright and Patty Jamieson is based on the original 1938 play Gas Light (two words) by Patrick Hamilton, it has a completely different resolution for the terrified housewife whose character made “gaslighting” a household word.
Producing Artistic Director/Chief Executive Andrew Kato saw Deceived at the Shaw Festival in Ontario in 2022 and knew immediately he must bring it to the Maltz, a decision proving wise — as there is so much to like here, provided one goes with an open mind.
Suffice it to say, the mild, meek Paula character made famous by Ingrid Bergman in George Cukor’s classic 1944 film Gaslight (for which she won the Best Actress Oscar) is gone, and in her place is a new and improved 21st century #MeToo version named Bella Manningham.
It’s nearing the end of Victorian London, 1901 to be more precise, and Bella and her husband Jack are living in a home previously owned by the wealthy Alice Barlow who was murdered in her own drawing room. Their housekeeper, Elizabeth, also worked for Miss Barlow and was upstairs when the killing occurred, but because Elizabeth is hard of hearing, she didn’t hear her mistress’s screams. The case was never solved, and Miss Barlow’s effects were moved up to the attic with the door sealed shut. All that remains of the memory of the lady of the manor is a portrait of her wearing a prized ruby necklace that turned up missing after her death.
And now a young married couple have taken up residence in the home, the first occupants since the tragedy happened. Whereas the film version seems like it takes forever to get going, Deceived jumps right in with the sound of ominous bells chiming somewhere offstage. We learn very quickly the gaslighting is already in full swing.
Unlike the motion picture, and thanks to the Maltz’s pre-show publicity, we know going in that Jack is not the perfect spouse, rather he is deliberately attempting to make his wife insane through manipulative measures, for a reason we shall soon learn. And given Bella’s current mental state, and family history of insanity, this shouldn’t be too hard for Jack to accomplish.
Wives in this time period were expected to stay in their place, and any perceived slights towards their husbands could result in them being sent away to a mental asylum with a diagnosis of being mad, so Bella needs to be careful. To add to the drama, Bella’s own mother had been committed and never recovered, so Bella is the ideal candidate as she is already paranoid, and fearful she will end up in one too. She is soon questioning her own reality, terrified the strange happenings are all in her head.
Unlike the film, the cast of Deceived is small, but mighty. Gone are the feisty, nosy neighbor and Scotland Yard’s Inspector Cameron, Paula and Gregory are now Bella and Jack, and Elizabeth has had an attitude change. But Nancy, the brazen maid who may or may not be Jack’s ally, is still here. Dialect Coach Jennifer Burke keeps the London accents of the four actors on the right track befitting their different stations in life.
As the gaslightee, Gaby Tortoledo is Bella, the subservient wife who wants only to please her husband. Her nerves are so frayed that she runs around frantically like a little church mouse trying to evade capture. The angst in Tortoledo’s body, and on her face is palpable, and as an actress, rising to that level of nervousness and paranoia must take a toll on her night after night. As she takes us on her journey with her, and Bella sinks further and further into the abyss, it’s not hard to imagine her at the point of no return. But then something happens at the end of Act One that changes the rules of the game, and her story arc, and Tortoledo rises to this challenge as well. Can Bella save herself without a Scotland Yard inspector to do it for her?
As the gaslighter, Kevin Earley is Bella’s husband, Jack, who gives us the perfect blend of doting on her one minute and making her doubt her sanity the next. He is handsomely attired and handsome, and the two of them make a striking couple. Jack is the king of mansplaining, regularly interrupting Bella’s train of thought, and toying with her by hiding various items, then blaming her for their disappearances, telling her at one point “You’ve lost your senses like your mother.” Earley oozes smarminess, never more so than when he does something slimy to Bella, and then comforts her as if she’s his small child.
Jan Neuberger is terrific as Elizabeth, the solemn housekeeper to the home long before the Manninghams arrived to take occupancy, but unlike the Elizabeth character in Gaslight, this one is a real girl’s girl. In a crucial mistake, Jack tries to gaslight Elizabeth as well, but nothing gets past her and her wire-rim spectacles, including what Jack is up to. Ms. Neuberger’s performance is spot on, and more than passes a stringent white glove test.
In the role that made Angela Lansbury famous, and earned her a Best Supporting Actress nomination, is Megan Elyse Fulmer as Nancy, the cockney maid who openly flirts with Jack and has an obvious contempt for authority. From the moment Nancy enters the home, she seems suspicious to us. For one thing, Jack tells Bella she attended Nancy’s interview, but Bella doesn’t recall it. For another, Nancy eavesdrops and snoops. The perky Fulmer appears to float on air, and no one lights gas lights as elegantly as she does.
Director Marcia Milgrom Dodge and Production Stage Manager Kent James Collins lead the charge with an impressive team next to them. Michael Schweikardt’s set is exquisite and draws gasps from patrons when first they see it. With its ever-present fog, dimming lights, and Victorian furnishings, the drawing room sets the mood right away for a dramatic story full of mystery and intrigue. Costume and wig designers, Lex Liang and Kevin S. Foster II, get to show off with several quick changes (aided by dresser Andrea Bogaard) and elaborate ensembles for Bella and Jack, nine gowns and three wigs for Bella, and a similar number of suits, minus the wigs of course, for Jack. Nancy’s floor-length French maid uniform with its white apron and cap is also a hit. The quick costumes changes made off stage were aided immeasurably by Andre Bogaard and Sophia Lobardo.
Most impressive are the gas sconces, chandelier, and street lights that Bella becomes obsessed with, and thanks to Amanda Zieve’s lighting design, they cast an ominous glow. David Bullard’s spooky sound effects add to the creepiness, fun, and Bella’s claustrophobia. An over-the-top fight scene, choreographed by Lee Soroko, results in a clever, unexpected climax for the audience, and one of the participants, when the tables get turned.
So in the end, Deceived at the Maltz Jupiter Theatre is a lesson in gaslighting, but the question is who’s really gaslighting whom? You might do well to familiarize yourself with the original 1944 Ingrid Bergman film before (or after) you go, otherwise the full effect will be lost on you, but let’s just say that the out of left field “I can bring home the bacon” unabashed ending more than earns its laughter and applause. And here’s a tip, if you’re a gaslighting spouse, you might want to sit this one out.
Gaslight is airing during the month of November on the Turner Classic Movies network, so set your DVR, make some popcorn, and sit back and enjoy, but not before buying your tickets to see Deceived at the Maltz Jupiter Theatre.
Britin Haller is a mystery author and an editor for Turner Publishing. Her latest short story “So Many Shores in Crookland” can be read in the 150th issue of Black Cat Weekly. Britin’s latest edit, a cozy mystery novel called Dumpster Dying is by Michelle Bennington and available where books are sold. Find Britin across social media.
Deceived plays through November 10th at the Maltz Jupiter Theatre, 1001 East Indiantown Road, Jupiter, FL (immediately east of A1A); Shows are nightly Tues-Fri @ 7:30 p.m. and Sat @ 8 p.m. Wed, Sat and Sun matinee at 2 p.m. Limited tickets still available. Running time approx. 110 minutes with a 15-minute intermission. Tickets starting at $74. Call 561-575-2223, or visit jupitertheatre.org.
(To read an interview with Gaby Tortoledo, go to http://www.floridatheateronstage.com/features/deceived-at-maltz-jupiter-theatre-is-a-lesson-in-gaslighting-with-gaby-tortoledo/)
