Never fear, whether you’ve seen Gaslight (the 1944 film) or the 1938 stage original, you can walk into the psychological thriller Deceived, now playing at The Old Globe through September 7th, cold. If you are someone who doesn’t know the story, this review won’t contain any spoilers.

It’s London, 1880s. Bella lives in a nicely appointed townhouse with her attentive husband, Jack, but something’s wrong. The gaslights dim when no one touches them, strange noises echo from the attic, and precious objects go missing. Jack insists it’s all in her head, but the audience is left to wonder: has Bella inherited her mother’s madness, or is someone working very hard to make her believe she has?

Brittany Bellizeare as Bella in *Deceive*d, 2025. Photo by Jim Cox.

In Brittany Bellizeare’s hands, Bella begins as a tremor of nerves: anxious, confused, fluttering about the house like a butterfly in a cage. By Act Two, she sharpens into the clever, capable woman she’s been all along, finally ready to outwit the person making her doubt her sanity. It’s an excellent turn, and the biggest reason the play’s climax works at all.

Maggie Carney is a true delight as Elizabeth, the loyal housekeeper, who blends servant, confidante, and guardian. Carney can mine a laugh from a simple head tilt, and delivers lines like “the murder” with ominous, deadpan relish.

Kennedy Tolson’s Nancy is all sharp edges, belligerent, calculating, clearly playing her own game from the moment she arrives. She’s no fit for a ladies’ maid, which is, of course, the point.

Then there’s Jack (Travis Van Winkle), the devoted husband who’s conveniently out every night, missing the flickering gaslights and mysterious crashes upstairs. He frets over Bella’s mental health and reminds her she’s behaving like her mother, which is a bad marriage move in any century. His character, as written, is the weakest link here, never quite matching the precision or intensity of the women opposite him.

Director Delicia Turner Sonnenberg has to navigate a talky first act, delivering exposition, which leaves less room for building tension. But in Act Two, the play finds its groove. Sonnenberg thrives on strong, savvy women, and here they get to scheme, spar, and steal the spotlight.

Maggie Carney as Elizabeth and Kennedy Tolson as Nancy in *Deceived*, 2025. Photo by Jim Cox.

The costumes designed by Nicole Jescinth Smith are lovely, from Jack’s beautifully fitted suits to the crisp maids' uniforms and Bella’s beautiful dresses. Bella’s beaded gown at the climax of Act One glitters beautifully under the dramatic lighting design by Bryan Ealey, which works with the sound design of the coming storm by Fitz Patton. Paige Hathaway’s cozy, lamp-lit scenic design lets the action travel around the theatre-in-the-round without losing sight lines.

This adaptation trims the cast to four, removing a male police inspector from the source material to allow for a more Bella-driven agency. The female empowerment update is welcome, but the plot still drags some baggage from the original. The villain’s “master plan” is needlessly convoluted, and any true-crime fan will clock both the culprit and the prize within minutes. At over two hours, the suspense is broken with an intermission; a 90-minute one-act would have kept the tension taut.

In the hands of Sonnenberg and this capable cast, DECEIVED entertains as an elegant thriller, with the audience on opening night booing the villains and cheering the heroes.