Theatre / Gaslight, adapted by Johnna Wright and Patty Jamieson. Directed by Lee Lewis for Queensland Theatre. At Canberra Theatre until May 19. Reviewed by ARNE FEALING.

It is a rare day you will attend a work of dramatic art that is so visually stunning, so carefully produced, and so precisely executed. This show is beauty magnified.

As soon as the curtains opened on this adaptation of Patrick Hamilton’s 1938 play Gaslight, it was obvious that what would follow would be a sumptuous experience.

An intense drama, each word was carefully timed, and vital to the unfolding of this psychological thriller. What is said is of utmost importance. Set inside quiet, yet foreboding splendour – the lighting and set design (Renée Mulder) worked a special illusionary magic to bring the audience into Gaslight’s private world. Working harmoniously and effectively with its sound design (Paul Charlier) both set and sound stage provided backdrop for the intense personal drama between Jack (Toby Schmitz) and Bella Manningham (Geraldine Hakewill).

Throughout, the highly realistic lighting design created astounding pallets. Stunningly real, the stage would become engulfed in the sunrise, as it softly streamed into the house.

The transition between day and night, a new day, and a new page in the softly unfolding world where Bella is going gently insane. But what is the cause of this unfolding torture? Much has been made of the connection between the modern use of the term gaslighting and its origins from this play, and the two films and various productions that followed. It has come to refer to the manipulation of a person by another in a similar way to Jack’s treatment of Bella.

A recent adaptation, the suspense and slow movement through its devastatingly clever plot are not lost. Bella is the key role, and Hakewill (Wanted, Ms Fisher’s Modern Murder Mysteries) is perfect in every sense. This drama turns around her. And it is up to her to find her way out.

As Jack, Schmitz (Boy Swallows Universe, Black Sails) executes his character arc with a calculated precision that belies the subplot underneath. An English gentleman of uncertain means, he succeeds in fooling the audience as much as he does his wife in the early potions of the play.

Prepare to be riveted and rocked.

There is a sense that everything about Gaslight was created to be as perfect as dramatically possible. It must be seen to be fully appreciated just how close this cast and crew have come to achieving that.