A classic thriller
Naatak’s production of “Gaslight” is a chilling and suspenseful exploration of psychological manipulation. The play, which recently concluded a sold-out run, stays true to the classic thriller’s core while offering a fresh perspective through its modern Indian adaptation.
Originally a 1938 British play, “Gaslight” tells the story of Bella Manningham (renamed Mudhumita in this production) – a woman systematically manipulated by her husband, Jack (played here as Mahinder), into questioning her own sanity. Jack would dim the gaslights in their home, or hide items from her and deny it, making Bella believe she’s imagining things. He mysteriously disappears in the evenings and whenever he is gone, the gaslighting in the house dims and she hears strange noises. The term “gaslighting” as used in today’s lexicon originates from the play, symbolizing a manipulative tactic where one makes another question their reality or sanity.
A contemporary Indian setting
Naatak’s production takes this classic tale and infuses it with a contemporary Indian setting. The set design effectively portrays the increasingly unsettling atmosphere of Mudhumita’s home. The living room, initially warm and inviting, transforms into a sterile black and white cage as the play progresses, mirroring Mudhumita’s deteriorating mental state. The use of lighting, particularly the flickering gaslights, becomes a character in itself, adding another layer of unease.
The heart of this production lies in the phenomenal acting. Despite having a rotating cast, each performance is captivating. On the day that I went, each member of the cast delivered a standout performance, but Devika Ashok, as Mudhumita, is a revelation. Her portrayal of a woman teetering on the edge of sanity is both heartbreaking and so utterly believable. The flicker of fear in her eyes, the desperate struggle to hold onto reality – Devika embodies Mudhumita’s plight with such raw vulnerability that you can’t help but root for her. Her journey, from meek, subservient housewife to a furious independent woman is nuanced.
Surender Singh as Mahinder was phenomenal. His superb acting as the manipulative husband keeps you guessing and on the edge of your seat till the end. He starts out being a loving husband, concerned about his wife’s supposed descent into madness. Doesn’t she remember that she hid the statue in her room? Or that she lost an important receipt? Or that she misplaced a watch? As his character develops, and the audience sees his manipulative ways, Surender develops a nasty glint in his eye, so well done that it makes us want to dislike him instantly!
Comic relief
The maids provide comic relief, played to perfection by the kind and caring Alifa (Namita Vakil) with a soft spot for Mudhumita and the young and cocky Naina (Simarpreet Kaur), who may or may not be in on the plot and has a crush on the husband. Naina and Mahinder have quite the chemistry on stage. A delightful addition is Inspector Rafi, played by Harish Agastya. As the stern but kind-hearted police inspector, he injects humor into the tense atmosphere with his exaggerated acting and witty remarks. These lighter moments provide a brief respite from the darkness that engulfs Mudhumita’s world.
Seeing a play like “Gaslight” in Hindi, in the Bay Area, felt like a powerful act of reclaiming a narrative. This isn’t just a British story; it’s a chilling exploration of emotional abuse that transcends cultures. The play exposes the insidious nature of manipulation, a tactic used across the globe. It reminds us that regardless of background, women can be victims of this kind of control. By showcasing the devastating effects of gaslighting on Madhumita, the play compels us to be more aware of manipulators’ subtle tactics. Naatak’s “Gaslight” is a play that will stay with you long after the curtain falls.
Written by Patrick Hamilton
Adapted by Ritwik Verma
Directed by Poulomi Sarkar
Produced by Alka Sippy