By Kate Bobby
High production values and strong performances elevated “Angel Street,” a somewhat standard melodrama running through this weekend at Queens Theatre in the Park. From beginning to end, this confident revival made you feel very much transported in time and place. You can practically sense a London fog rolling in, enshrouding “Angel Street” in just the right amount of mystery.
The melodrama, written by Patrick Hamilton, debuted in 1938, made it to Broadway in 1941 (with legendary screen villain Vincent Price in the lead) and enjoyed a four-year run of 1,295 performances. From there, the tale of “Angel Street” – about a husband who may or may not be trying to drive his wife mad – made it to the big screen as the 1944 classic, “Gaslight” starring Ingrid Bergman and Charles Boyer as the curious couple in question. The film adaptation of the play, though enjoyable, bore little resemblance to playwright Hamilton's plans. And, as expected, the playwright hated the film.
And having viewed the original story, as told in QTIP's “Angel Street,” it is easy to identify with Hamilton's dissatisfaction with its much paler imitation. The film and the play share the premise but little else: Bella Mannigham, who may or may not be going mad, lives in the shadow of imminent institutionalization, a constant threat brandished against her by her seemingly distraught husband, Jack. Some witnesses to the marriage side with Mr. Mannigham, including an impudent maid, Nancy, who is making an overt play for the husband's attention. Others, including a suspicious lawman, doubt the veracity of Mr. Manningham's claim, and as a result, fear for his WHOSE? wife's well-being. Bottom line: a race against time ensues. The film, and the play, derives much of its tension (as well as one of its titles) from the gaslights in the Manningham's home, which dim and strengthen with mysterious regularity, signaling a mysterious presence in the couple's home.
However, while the film version is weighed down by rather ponderous pacing courtesy of a rather condescending overstated script, the play trusts its audience to keep up and therefore seems to move at a quicker clip. Case in point: the play's first half – which gets off to a slightly slow start (thanks to a slightly plodding Scene One) – swings nicely into action with a well-timed arrival of Inspector Rough. Rough, a clever Cockney gumshoe, is a seat-of-the-pants crime-solver of The Old School, his raw humor and brawny form contrasting convincingly and refreshingly with Jack Manningham's patina of Victorian reserve and self-containment. By the end of Act One, therefore, you will not be quite certain of what is to come and you will be eager to discover the outcome. Act Two, which matches the promise of Act One 100 percent, is nonetheless satisfying. would make more sense: which fails to match the promise
Much credit goes to casting. English actor Vernon Morris' vibrant inspector comes off best. Think Bob Hoskins. It' s that kind of role and it gets just the right treatment. As the Manningham's, John Little's “Jack” and Susanna Frazer's “Bella” may perhaps have benefited from a little bit of understatement, but the two leads live up to what is required. Frazer, particularly, seems to lend to the fragile, repressed Bella – easily prey to a one-note portrayal – some much-needed emotional volume. Also strong is Patricia Guinan as a very convincing head housekeeper, Elizabeth, who knows all is not what it seems in her master's house.
Director Robert Urbinati earns a mention for breathing new life into a very enjoyable melodrama of decades past. He seems to understand exactly the sort of play he has on his hands: it's not too heavy, it's not too light, and done the right way, it's still a lot of fun. The production is helped along by the fabulous set design, the splendid period costuming, and some mood-setting incidental music. Urbinati directed a production of “Angel Street” to critical acclaim earlier this year at Manhattan's Pearl Theatre.
“Angel Street” will run Sat., Jan. 22 at 3 and 8 p.m.; and Sun. Jan. 23 at 3 p.m.
Tickets to Angel Street are $24 for general admission, $22 for seniors ($18 for the Wednesday matinee), $18 for members, and $15 for audiences 7-17. Group rates are available.
Queens Theatre in the Park is located in Flushing Meadows Corona Park. Call 760-0064 for more information.
