Review: Dead Guilty (Tabard Theatre)

Review by Phil Meikle

⭐️⭐️⭐️

Before “fake news” became the populist term for widespread misinformation, there were two equally sinister terms more commonly used: coercive control and gaslighting. These sinister behaviours were often hidden behind suburban net curtains in otherwise well-functioning homes. To be a target of these psychological techniques is a universal fear—one to which we could all be susceptible, as these are weapons that can be wielded both in the shadows and right in front of our eyes by those we least suspect, those who claim to care for us the most. This is the central conceit of Dead Guilty, a revival of the 1994 West End play, the latest in a long line of collaborations between the intimate and prolific Tabard Theatre in West London and crime writer Richard Harris. This follows on from Harris’ last Tabard-produced thriller, The Business of Murder, which was also overseen by returning director Nick Bromley.

Set in the confines of one central living space in a small Victorian house, we see the world through the eyes of graphic designer Julia (Charlotte Hunter), a fiercely independent woman used to living and working alone at her own discretion. She is an impatient patient, recovering from the aftereffects of a car crash that took the life of her employer. Her reliance on crutches and enduring pain are clear to see and require an impressive degree of physicality from Hunter when moving around the set, which never feels exaggerated and quickly garners the audience’s sympathy. Hunter’s sharp, defensive wit, in defiance of her slowly healing body, and her wonderfully expressive face make for an engaging and intriguing central character, always on edge and creating a furtive atmosphere.

We first meet Julia during a home visit from her counsellor, Anne (Julia Faulkner), whose no-nonsense approach to talking therapy provides a useful device for the swift exposition of backstory. Anne’s objectivity offers a glimmer of hope for Julia’s mental recovery, so when she is continually shut out of Julia’s life by those claiming to have her best interests at heart, her absence is strongly felt. Faulkner displays just the right amount of probing and insightfulness to make us yearn for her interventions in this shadowy and suspenseful drama. However, my only slight gripe with the script is Julia’s apparent lack of grief for her deceased employer, especially as we learn more about their friendship and the circumstances of his death. This feels underpowered and a missed opportunity.

The introduction of Julia’s “daily male” home carer Gary (Freddie Webster) provides our first clues that Julia’s otherwise composed mental state may be more vulnerable than it first appears. Their interactions offer an interesting commentary on preconceptions of what form a carer might take. Gary is a young, working-class male, but his overly attentive nature towards his employer begins to go beyond his duties of cleaning and gardening, blurring the lines between caring and more intimate feelings. His jealousy of other visitors to the house and his angry denial when accused of moving or breaking Julia’s personal items result in his cheeky-chappie persona revealing a dangerous short temper. It is Webster’s ability to switch so quickly and unnervingly between loveable fool and sinister rogue that helps underline the tension in their relationship. Are these the first signs of coercive control and ulterior motives?

The arrival of Margaret (Felicity Duncan), the fussing, overly attentive, grieving widow of Julia’s late employer, further ramps up the sinister signs of gaslighting. Ex-nurse Margaret’s passive-aggressive bedside manner recalls ‘Annie Wilkes’ from Stephen King’s Misery. She has an overbearing nature, demanding that Julia eats the food she has lovingly prepared and follows her instructions when dispensing prescribed medication. Duncan plays Margaret as a sort of surrogate mother figure, simultaneously comical and unsettling. Clearly looking to fill a void in her life, she paints a familiar picture of a waspish matron, apparently hurt by any sign of rejection but always firmly in control. It is in the play’s closing scenes that Duncan’s acting chops are truly tested, making for an explosive showcase of her talents.

Richard Harris shows a real flair for writing relatable, strong female characters, and his assured history of constructing crime plots for TV and theatre is in evidence here. The audience must play detective and ascertain what is real and what is misdirection, as clues are seeded throughout. Cleverly, this misdirection makes us feel as though we too, are being gaslit, just like Julia. Regular viewers of crime suspense will be able to anticipate the beats of this familiar story, which has a “Play for Today” feel: suburban drama with deeper underlying themes simmering beneath the surface, waiting to erupt. In tandem with the writing, Nick Bromley’s assured direction ensures scenes don’t outstay their welcome and that the story moves along at a solid pace. Faith Powlett’s costume changes consistently reflect each character’s personality and help convey the passage of time within Rob Miles’ well-crafted, compact set.

I do, however, have a couple of reservations about the use of lighting and music in this production. Overall, Nat Green’s lighting design is consistent, except for two instances involving shadow play on the back staircase. These silhouettes are intended to suggest a malign presence lurking upstairs out of sight, but instead come across as slightly camp. The music transitions between scenes were the other main misstep for me. These pieces were presumably added to increase creeping tension, but the inconsistent variety used has a jarring effect. Most notably, the volume of “Cry Me a River” on the stereo was far too loud for its accompanying scene and risked drowning out the dialogue between the two featured actresses.

All in all, this is a well-conceived psychological thriller with some great performances that has a lot to say about the dangers of enforced isolation, dependence, and coercive control—long before social media and fake news entered the conversation. Dead Guilty is perhaps less of a potboiler and more of a gentle simmer.

DEAD GUILTY plays at Tabard Theatre until 27^th June. 

Tickets from Dead Guilty – Tabard Theatre 

Photos by Felix Hall Close.