The personal life and writings of Oscar Wilde have been so inextricably linked that the new play DORIAN has woven Wilde's journey into that of one of his best known characters, Dorian Gray. In an everything old is new again fashion, Wilde's' 1891 play THE PICTURE OF DORIAN GRAY has been freely adapted by Phoebe Eclair-Powell and Owen Horsley into something remarkably fresh and creative.
Oscar Wilde's life was fraught with controversy and has been the subject of some dramatic plays including GROSS INDECENCY: THE THREE TRIALS OF Oscar Wilde by Moises Kaufman and THE JUDAS KISS by David Hare. Although married to a woman and the father of two children, Wilde's effete personality and very "uncloseted" homosexual lifestyle was tolerated until it wasn't. Homosexuality was a crime and Wilde was tried and convicted, spending 2 years in prison. His dalliances with beautiful young men were notorious. But also his eventual downfall.
In THE PICTURE OF DORIAN GRAY Wilde concocts a man who physical beauty is unrivaled and in a deal with devil, his portrait is kept in the attic to age, while Dorian retains his youthful beauty in perpetuity. But perpetual youth has it's demons, not unlike those suffered by Wilde.
Eclair-Powell and Horsely have written a play that is firmly set in the 1970's Underground New York City Ballroom culture that was made famous in the film PARIS IS BURNING. At the outset, the cast of three men make it clear we will be bouncing back and forth between the 70's and Victorian England. Scenes from Wilde's original play meld with a retelling of Wilde's own personal trials and tribulations. His own fascination with young beauty comes to life in the form of Dorian, mirroring some one of his own most famous relations with a young man named Lord Alfred Douglas (Bosie).
Kristopher Bartolomeo is "Actor One," who in most scenes is Dorian and Bosie. Bartolomeo epitomizes exuberant youth, carefree and self centered. His naivete is perfect, which aids in witnessing his journey into the challenges of life, relationships, love and even murder. Bartolomeo does a fine job inhabiting the role with conviction and gritty realism.
Brian Brown is "Actor Two," who plays the portrait artist Basil, James Vane, the Prosecutor, among others. Brown is a chameleon who swiftly grounds many of the scenes he is in with a sense of reality. He's that sensible gay friend who tries to reign in his more flamboyant friend, but rarely succeeds. Brown has mastered voices and dialects with aplomb.
Dave Spychalski is " Actor Three," playing Wilde, Lord Wotton, and Sibyl Vane. Spychalski is a large imposing man, similar in stature to Wilde himself. He exudes reckless gay abandon as both Wilde and Wotton, and truly sparkles as the actress Sibyl. His courtroom scene as Wilde attempts to make light of the proceedings was a highlight. Spychalski handles the drama and comedy with a nuance that can also be heartbreaking at times.
Bartolomeo serves as associate Choreographer alongside Choreographer Willa DeWhisp, who fill the action with dance moves that ensure a fluidity to the scene transitions. The story unfolds on a platform up center that suggests we are in a Ballroom Dance Club, and the three actors strut and pose as they explain what we are about to see. The criteria for being a homosexual in the Victorian times are spelled out as the men dance in their bedazzled,sequined costumes and sparkly shoes. The idea of "posing" harkens back to Wilde's play, as well as the famous song by Madonna, and the spectacular TV series POSE starring Billy Porter. The gender lines and roles are blurred and it all works wonderfully.
Director and Sound Designer Mason Beggs has a real grasp of how these two stories weave themselves together. Through the simple addition of a hat or jacket, the men morph from one character to another with exactitude. Fight Director Danielle Rosvally has staged some of the best stage combat I've seen executed in recent years (thanks also to those nimble actors). Lighting Designer Lowden Flower has lit the playing area with evocative subtlety and also dramatic split second changes.
Scenic Design, as well as Costumes, Hair and Make up by Collin Ranney perfectly fit the two periods with an edgy take on traditional garb. The attention to detail is flawless.
While this may not be your grandmother's DORIAN GRAY, the creativity is boundless in this tight, visually alluring production. The end result is a inventive venture that gives the viewer a more insightful vision of Oscar Wilde, the author and the man.
DORIAN plays through April 13,2025 at Buffalo's Irish Classical Theatre. Contact irishclassical.com for more information
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