SEALED BY A KISS<\/strong><\/p>\n

If one were to predict how a play about the famous (and notorious) Oscar Wilde<\/strong> would begin, she could predict a steamy bedroom encounter between Oscar himself and \u201cBosie\u201d, often regarded – and rightfully so – as the villain of the Irish poet\/playwright\u2019s life\u2019s story. However, David Hare, <\/strong>this playwright,<\/strong> chooses a different approach. How about a heterosexual romp in Oscar\u2019s own bed between a manservant and a frisky maid at his hotel room residence in which he has been staying for the last five months? Whuh?<\/span><\/p>\n

The above description pertains to the Boston Court<\/strong> production of THE JUDAS KISS<\/strong><\/em> now playing in Pasadena<\/strong> thru March 24<\/strong>. Of course \u00a0the opening scene prepares the audience to explore the strictures of a Victorian society that can be both harsh in its moral judgments in public in contrast to its real nature behind closed doors. The behavior of many in private can be as randy as ever, but it is Oscar\u2019s choice to conceal his predilections in a shocking public exercise which leads the audience to an examination of the drama\u2019s key themes of love and betrayal.<\/span><\/p>\n

If one is lucky enough, director Michael Michetti<\/strong> can lead the unfamiliar down the path of understanding of the motivations and realities of Oscar’s own betrayal not only thru his own choices, but also those of his lover \u201cBosie\u201d. This theatre enthusiast welcomed the pre-show lecture by the director and also the lessons offered by his masterful staging of a brilliant play that happens to be peopled by an ensemble of extraordinary actors. This thrilling production immediately rises to the top of my 2019 theatre experiences. Let me explore its impact.<\/span><\/p>\n

At the center of the play is the larger than life raconteur, lecturer, playwright and poet Oscar<\/strong> Wilde<\/strong>, embodied in the often astonishing performance by Rob Nagle<\/strong>. Yes, one can easily observe his need for fame, his self-assurance, his irritating habits, and his unfettered romantic attentions to the Lord Alfred \u201cBosie\u201d Douglas of Colin Bates<\/strong>, the epitome of classic Greek beauty. Mr. Bates manages to stay right in step with the grandiosity of Nagle\u2019s accomplishment, always fawning, massaging his ego and leading him down a thorny path in pursuit of Bosie’s own selfish desires. The audience keenly observes the unshakable bond between the two “artists”, even as Oscar continues to spew some of those epigrams for which he is famous.<\/span><\/p>\n

Act I of the play finds Oscar dealing with the consequences of his failure in the very public courtroom challenge to the lurid charges of \u201cindecency\u201d brought by Bosie\u2019s father, the Marquess of Queensberry<\/strong>. Likely to be arrested, Oscar, as a result, faces several unpopular choices. His longtime friend \u201cRobert Ross\u201d, soundly played by Darius De La Cruz<\/strong>, earnestly and urgently counsels him to leave London<\/strong> at once. Scandal!<\/span><\/p>\n

The amusing, yet lusty duo of \u00a0manservant \u201cArthur Wellesley” and maid \u201cPhoebe Cane\u201d, in and out of garments, often are in focus during the act with nuanced portrayals by the very talented Matthew Campbell Dowling<\/strong> and Mara Klein<\/strong> respectively. Similarly, the Maitre d\u2019Hotel \u201cSandy Moffatt\u201d,\u00a0 acted by Will Dixon<\/strong>, avidly caters to Oscar\u2019s every whim, serving as a counterpoint to Mr. Wilde\u2019s reluctance to engage in a change of course. And also, hearkening back to the earlier observation about private Victorian mores, the audience witnesses Mr. Moffatt and Arthur in quiet negotiation themselves about a proposed discreet encounter later (apparently Arthur\u2019s reputation suggests that he lustfully dilly dallies on both sides of the corridor so to speak). At any rate there\u2019s plenty of activity going on in Act I, but very little of it has to do with Oscar who remains fixated on what Bosie thinks. He plants himself, relaxes, extemporizes on aesthetic ideals and even orders an elaborate dinner as he awaits society\u2019s reckoning.<\/span><\/p>\n

If a fan of Oscar Wilde\u2019s literary contributions \u00a0(this critic counts himself among them), one might recall his famous plays, notably THE IMPORTANCE OF BEING EARNEST<\/strong><\/em>, LADY<\/strong> WINDERMERE\u2019S FAN<\/strong><\/em>, A WOMAN OF NO IMPORTANCE<\/strong><\/em>, AN IDEAL HUSBAND<\/strong><\/em> or even \u00a0the controversial SALOME<\/strong><\/em>. His novel THE PICTURE OF DORIAN<\/strong> GRAY<\/strong> also has considerable charms as well. His greatest achievement, though, might be the poetic, autobiographical \u201cThe BALLAD OF READING GAOL<\/strong>\u201d in which Oscar reveals his despair in his reflections while incarcerated.<\/span><\/p>\n

It is following his release from that prison, after authoring the introspective unburdening of his soul (the De<\/strong> Profundis<\/strong> letter), that the audience finds the broken Oscar, devoid of his usual flamboyance, in the company of Bosie in Italy, living without status and almost penniless, yet still devoted to his ideal love hoisted on a pedestal in his own mind. Act II, therefore, explores the meaning of that “love” between Oscar and his paramour.<\/span><\/p>\n

Bosie has continued the life of a bon vivant (without luxury this time), enjoying a festive existence with the locals, ever ready to sing, dance and dabble in pleasure with those men who are similarly inclined. Enter Kurt Kanazawa<\/strong> (\u201cGalileo Masconi\u201d), the latest Bosie \u201cboy toy\u201d to catch his fancy. Even so, the audience notices a shift in the inseparable bond with Oscar, especially when the issue of money rises to the surface. By the way, Mr. Kanazawa\u2019s set decoration accomplishment is beyond reproach, even though it falls short of being seminal to the play. Oh…and his acting enlivens the scene as well.<\/span><\/p>\n

The Boston Court<\/strong>\u2019s production of David Hare<\/strong>\u2019s THE JUDAS KISS<\/strong><\/em> \u00a0now affecting audiences thru March 24<\/strong>, represents a stunning achievement by Mr. Michetti<\/strong>, his creative team supporting the director\u2019s aims and his sterling cast and crew as well. Take a bow, ladies and gentlemen!<\/span><\/p>\n

Even though Oscar Wilde<\/strong>\u2019s status as a gay icon lives on, an exploration of its genesis may induce some questioning of this reputation\u2019s authenticity. An insightful examination of this important play may lead one to begin that process, notwithstanding a celebration of Oscar<\/strong> Wilde<\/strong>‘s always surprising wit, plus his undeniable, worthy contributions as a man of letters.<\/span><\/p>\n

pc: Jenny Graham<\/strong><\/p>\n

Theatre Curtain Calling\u2026 Reviewing the Situation<\/i><\/b><\/span><\/h2>\n","protected":false},"excerpt":{"rendered":"

SEALED BY A KISS If one were to predict how a play about the famous (and notorious) Oscar Wilde would begin, she could predict a steamy bedroom encounter between Oscar himself and \u201cBosie\u201d, often regarded – and rightfully so – as the villain of the Irish poet\/playwright\u2019s life\u2019s story. However, David Hare, this playwright, chooses<\/p>\n","protected":false},"author":1,"featured_media":3791,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"amp_status":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[83,80],"tags":[],"yoast_head":"\n