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I Ought To Be In Pics
Catholic Girl's...Virginity
Two Gents. of Verona
Lettice and Lovage
An Ideal Husband
Angel Street
Henry IV Part 1
Redwood Curtain
The Drawer Boy
Laughing Wild
Who's Afraid of V. Woolf?
The Cherry Orchard
Glass Menagerie
True West
All's Well That Ends Well
Joseph ... Dreamcoat
Richard III
Waiting For Godot
Scotland Road
Bobby Crooks
Two By Thornton Wilder
Other Productions

Directing Resume

For a downloadable / printer-friendly version of Gregg W. Brevoort's Directing Resume:

Production Information

Angel Street

By Patrick Hamilton

Directed by Gregg W. Brevoort

Penobscot Theatre Company
Bangor, Maine

Design / Production Team

Set Design

Lighting Design

Costume Design

Stage Manager

Chez Cherry

Lynne Chase

Sandra London

Hollie Hallett


Bella Manningham

Jack Manningham

Inspector Rough



Police Officer

Anne Penner *

Michael Mendelson *

John Thomas Waite *

Alison Cox

Elizabeth Van Meter

James Bocock

*  members of Actors Equity Association


the Bangor Daily News
Victorian thriller stirs up suspense

Creative team makes ‘Angel Street’ shine

Penobscot Theatre’s new production of Angel Street overflows with suspense

Director Gregg W. Brevoort has the answer ... he features a smart cast of actors and a powerful creative team to create a delicious evening of elegantly spooky chills ... subtly and with mounting terror

The production is visually engrossing and bespeaks careful technical attention

A vital interpretive gift to the audience

This is a fine rendition of an old chestnut that set the standard for a generation of stage thrillers

 The lesson, again in wartime, is that we should never underestimate the importance and value of cathartic escape the arts offer. Penobscot Theatre’s Angel Street stands up to that task


The Ellsworth American
“Angel Street” Thrills

Angel Street is a real corker. It’s that theatrical rarity – an edge-of-your-seat mystery that’s truly thrilling to watch

There are things lurking below the surface that resonate with modern audiences, occasionally touching sensitive spots

 – Brevoort directed Betrayal at the PTC last year. That production was the season’s highlight, and he has repeated the feat for 2003 

The excellence of these actors, this director and this crew, however, has turned Angel Street into a fun, exciting, slightly disturbing and thoroughly memorable event

Director's Notes

Angel Street by Patrick Hamilton is billed as a Victorian Thriller. Written in 1938, the play has a more modern edge than the Victorian labeling might insinuate. The play is a psychological thriller with a melodramatic flair, set in a Victorian 19th century, but with a distinctive 20th century perspective.

Angel Street is a hybrid, of sorts. Drawing on the traditions of Victorian popular theatre and the newer naturalism of the 1930's, playwright Patrick Hamilton attempted and succeeded in melding the two. It was a unique theatrical offering for its time – resulting in a hugely successful Broadway run and its subsequent making into the award winning movie "Gaslight", directed by George Cukor and starring Ingrid Bergman in an Oscar-winning performance. But more importantly, Angel Street spawned a whole new generation of stage thrillers that re-invigorated the old form and injected it with a psychologically fuelled adrenaline. The next generation of stage thrillers included such intense classics as Dial M For Murder, Wait Until Dark, The Bad Seed and even more recent offerings like Deathtrap and Voices In The Dark. These plays rely less on plot and the theatrical machinations of Victorian thrillers and more on emotionally charged interplay. Angel Street blazed the way for this revolutionary shift in stage thrillers.

Angel Street gives us, however, the best of both worlds – it has that old-time feel of the Victorian thriller, yet gives us a contemporary access to the goings-on in the Manningham household. Victorian thrillers relied heavily on stage and plot devices – and Angel Street joyfully does, too. Yes, a great deal of the play revolves around its infamous gaslight! But, uncharacteristically Victorian, it raises serious issues of abuse and manipulation - thus allowing such worn devices to transform into modern and gripping theatrical metaphor.


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