A play by Gordon Sherry.
Adapted and produced for television by Dennis Vance.
[Starring] Margaret Rawlings and John Robinson with Jack Allen

Second performance: Thursday at 7.30

Away there in the far-off, full-fed days of 1937, Black Limelight came first on to the stage. (It has been on innumerable stages since.) The Times dramatic critic wrote of it then: "It is not a play of aesthetic consequence, but it is in its own kind an unusually intelligent thriller".
As soon as the fireside audiences saw Miss Margaret Rawlings recently give her poetic recital-or sketch-book of characters in poetry-they must have observed that here was an actress who knew all about the camera. So, for that reason among others, Black Limelight is a happy choice: Miss Rawlings is closely identified with it, for she created the part of the heroine. More especially, her creation doubled two parts: she played, in a busy evening, both the wife of the man accused of the murder of his little mistress and (in a flashback) the little mistress herself.
Peter Charrington is on the run after the discovery of the death of Lily James in the seaside bungalow and his faithful wife is fighting off the police. Cognoscenti of crime will find an original touch of drama in the Man Who Can See in the Dark-his technical description, for those who are interested, is a 'nyctalops'. He provides the play's climax. Back to Mother Times for the Olympian verdict: "It demonstrates anew that the thriller of the stage, unlike that of the novel, need not deceive the audience, and that the intelligent study of character is not beyond its range". Well, I say that it's pretty good anyway. Lionel Hale