★★★
“Tonya doesn’t take shit.”
It’s an interesting subject to take on, especially as we find ourselves in the rehearsal room of ‘Good and Gaslit’ – an exploration of Ingrid Bergman’s experience during the production of Gaslight and her own gaslighting. fact, we learn more about the woman meant to be portraying Bergman, Deborah Cincotta and her daughter in the show and reality, Kendall McDermott, the director.
The premise for the play is very simple but effective following the pattern of; Duologue, the exit of the director, character breaking the fourth wall for a monologue and/or anecdote which gets interrupted by the entrance of the director. And repeat.
Some artistic choices fall flat in this production because they are not sustained throughout. When we’re first left alone with Cincotta’s character, she lays back on the sofa and begins talking to her polystyrene wig head that represents her therapist. It’s ingenious to use a head to represent a shrink, and the questions from the therapist come from offstage by McDermott. Later on McDermott multi-roles around Cincotta’s monologues which feels quite forced for the actor and then Cincotta turns into other characters. Using three techniques to display other characters felt a little messy and took away from the original punch of using inanimate objects.
After bows, we are told to ignore the acting and focus more on the writing, which as a theatre critic I cannot do. Had the pair pushed this production as a rehearsed reading then writing would have been the main focus, but they produced Good and Gaslit as a play.
The writing is fascinating and although the anecdotes and observational humour towards women is relatable and funny (a good sign when it’s been produced by, written by, acted by and directed by women) I think they could go further, especially with the exploration of Bergman. I’m sure there is a LOT to go into with such an iconic actress.
Good and Gaslit ended their run at the space @Surgeon’s hall on the 26th of August.
Review by Jade Flack
