Oscar Wilde is one of those relatively rare individuals whose enduring fame survives as much because of the events in their own lives as to the fictional artistic works they created. In the case of Wilde, his numerous famous witticisms continue to be quoted and his downfall makes him something of a martyr figure to the gay community whilst his plays continue to be widely performed.
European Arts Company did full justice to the epic tale of Oscar Wilde’s trials, bringing together four versatile acting talents who interspersed the courtroom dramas with frequent little cameo pieces, bringing to life the many people involved in the story. The hard-boiled, aggressive manner of the prosecution lawyers was finely matched by the vibrant, eloquent foppery of Wilde, with superb costuming to match. With acting of such high calibre in this production, little staging was needed, with a red, stylised set providing the ideal backdrop for Wilde’s colourful character. Occasional back-images of the actual people being spoken about on stage really brought home that this was a true story, about actual people and based on the court records.
John Gorick bore an uncanny physical resemblance to the real Wilde and provided the perfect arrogant self-assurance for which the linguistically brilliant writer was famed. The exchanges during the libel trial with Wilde’s adversary and old colleague Edward Carson, played by Rupert Mason, were quite superb with virtually every line and question taking on new meanings, as the legal combatants duelled with word, arguments and perspectives. Wilde invited the audience to reconsider the real motivations of several everyday forms of conduct, seeming at times almost invincible until with after just one slip, his case seemed to collapse like a pack of cards. Patrick Knox as Wilde’s council Sir Edward Clarke provided a suitably less combative type of lawyer who clearly knew when to advise discretion over valour.
In the second act, covering the criminal trials, the drama was slightly less intense as Wilde’s defences appeared to gradually diminish but the story was none the less fascinating as the secret, sordid life of one of the country’s most successful and respected artists was progressively revealed. Benjamin Darlington gave an excellent portrayal of Charles Parker, one of Wilde’s numerous ‘innocent, young victims’ and the ensemble cast presented convincing portrayals of numerous other characters.
With this being a highly realistic and accurate telling of a true story, the various issues raised resonate with a real clarity for today. In one sense, Oscar Wilde could be said to have been condemned simply for being a homosexual, which would put him as in the same league as someone like Alan Turing but as the play shows, it wasn’t that simple. Wilde was a famous, supremely confident personality who used his wealth to seduce desperately poor men/boys less than half his age and so can be viewed as a predator. Also, Wilde’s witty and contemptuous attitude to virtually every question put to him can hardly be likely to have endeared him to either the judge or the jury since he seemed to view himself as above everyone else (the same could be said to some extent of Rolf Harris during more recent times) On balance, everything is there for a fascinating debate as to whether Wilde was really a victim or a perpetrator.
In watching this play, you are the jury and the verdict continues to be debated long after the curtain has fallen. A superb piece of theatre; highly recommended.
Reviewer - John Waterhouse
on - 1/6/19
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