Upon entering the Irish Rep Theatre, James Morgan's ravishing set design (provoking oohs and aahs) provides a clue as to what awaits the audience this evening. With this impeccably detailed, sumptuously impressive drawing room, Gaslight oozes late 19th century Victorian bourgeoisie life. The set in all its plush coziness justly heightens the melodramatic aspects of Patrick Hamilton's 1941 thriller/potboiler Gaslight.

Perhaps best known for the movie version starring Ingrid Bergman (Oscar winner), Gaslight is the story of the pampered, slightly neurotic Belle Manningham. She is totally under the sway of her handsome, domineering husband Jack. While Victorian mores supported male supremacist domesticity, there seems to be a little more than meets the eye happening here. Petty disagreements become major altercations, servants openly expression distain and thievery is suspected in misplaced items. Is Bella the cause of these infractions or is it a plot by her sinister husband to undermine her? And what about those ominous sounds in the upper stories of the house?

We are not quite sure ourselves of what is going on between the Mannninghams until the arrival of the mysterious Inspector Rough. Retired from the police force and living down the street, Rough has taken an amateur interest in the internal events of the house. He arrives one evening after Jack has gone to his club, posing some interesting hypotheses. Will Rough and Bella be able to put together the evidence that implicates Jack not only in the household intrigue but also a murderous incident many years back?

Wisely director Charlotte Moore lets these events unfold without getting too precious about them. The most appealing aspect of the production is how Moore lets the piece work its old fashioned charms over us. Martha Hally's costumes and Brian Nason's lighting effectively add to the overall lushness of the show. However, it is really up to the actors to get us involved with the proceedings. Again, Moore beautifully walks a fine line in her allowance with her actors. The cast is permitted to work the melodramatics inherent in the piece without stepping over the line into camp. Laura Odeh provides just the right amount of skittish panic for us to side with her especially when David Staller's pompous yet subtly unhinged Jack is so villainous. Patricia O'Connell and Laiosa Sexton as the two household maids provide a nice old world/new world view of servitude. Yet, the show belongs to the indubitable Brian Murray as Rough. From his first entrance, he has the audience in the palm of his hand. He is in superior form as the crafty inspector who never quite lets Jack or the audience know his mind. Watching Gaslight, one has the feeling of what is must have been like to sit before the fire with a good book.

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