Gaslight Review: This Evocative Portrayal of Sexual Assault Cuts Deep
Photo by Alessia Malakava
What if physical wounds were dismissed in the same way as mental wounds often are? It’s a well-worn adage, but Shaira Berg’s powerful script confronts the truth of the analogy head on. Gaslight follows the story of Scarlet, a university student who wakes up after blacking out at a party with an inexplicable, expanding wound on her chest - which none of her friends or family seem to care about.
Berg’s concept is simple but highly effective. Set in an otherwise recognisable university setting - complete with parties, hangovers and ‘trips to the bathroom’ - it is easy to buy into the dramatic world, where Scarlet can walk around with a potentially life-threatening chest wound without anyone particularly caring. Thanks to the show’s ‘blood technician’ Maisie Johnson, the wound has a compelling presence on stage, a revolting mass of dark red that spreads stealthily across Scarlet’s white t-shirt. It is a visceral and constant reminder of Scarlet’s mental anguish, which confronts the implied unspeakability of trauma without abashment.
Pembroke New Cellars can be a difficult venue to perform in, but in this case the slightly informal setting lent itself to the emotional intensity of the production. With just a few chairs scattered in front of the performance space serving as an audience, viewers were intimately involved in the action, and an uneasy sense of complicity was achieved by this positioning. In a play which addresses the failure of those around Scarlet to take her pain seriously, the underlying question throughout seemed to be: would you do the same? Ella Joralemon’s direction was dynamic and did well to create the illusion of crowded spaces in scenes which called for more than the small cast could offer. At times, however, the short scenes felt stunted by long and slightly clumsy transitions. Despite this, the use of blackouts were effective in placing the audience in the same position as Scarlet herself, and Sophie Richardson’s lighting design created an eerie and unsettling atmosphere throughout the production.
Thriving on Berg’s naturalistic dialogue, the cast all delivered strong performances. Ryan Keys was excellent as Scarlet’s toxic boyfriend Tate, managing to balance moments of attractive ‘bad boy’ charm with darker, more sinister scenes. Tate’s character was utterly recognisable, and Keys’ nonchalant dismissal of Scarlet’s trauma lent a heart-wrenching verisimilitude to their interactions. Misha Koshutskyy and Lara Ibrahim were also strong in supporting roles - both characters were well developed and, painfully, likeable, making it difficult to watch their failures to adequately support Scarlet. Ibrahim’s performance in the final scene was particularly harrowing, and seemed to hang in the air long after the lights went up.
The stand-out performances, however, were those of Angela (Sarah Walton-Smith) and Scarlet (Shaira Berg). Walton-Smith was effortlessly compelling as the ‘I say it how it is’ laid-back cool girl, slowly revealing moments of uncertainty and vulnerability beneath her intimidating exterior. Equally, Berg’s transformation from fun and bubbly university fresher to deeply wounded and traumatised was deeply moving. Ranging from piercing cries of anger to total numbness, Berg portrayed the all-consuming effects of assault with commendable skill. Despite portraying two opposing characters, they share a memorable scene of bitter solidarity: Angela’s deeply repressed trauma is performed with devastating resignation, and stands in stark contrast to Scarlet’s freshly inflicted pain. Despite their differences, both women are bound together in horrific recognition of each other’s wounds - a reminder of the prevalence of such scars among many.
Following a successful Off-West End run, Gaslight deserves its place on the Cambridge stage. Not only does the evocative image of the physical wound aptly represent the heartbreaking effects of trauma, but the play raises questions of complicity and explores the complexities of emotions surrounding the experience of sexual assault.
Gaslight is on at Pembroke New Cellars until Saturday 11th November.