Review: OSCAR AT THE CROWN, The Crown

“Forget all the daydreams it's where you belong / Feasting with panthers like us all night long”

Walking down into The Crown for Oscar at The Crown makes one feel as though they are entering the bunker of a conspiracy theorist, with photos connected with thread and quotes written on the walls. Turning the corner, audience members are greeted by a quote in glowing yellow - “What a beginning. What a wonderful beginning.” There is writing and graffiti covering the walls, including portraits of and quotes from Oscar Wilde. A “Wall of Martyrs” that has names including Freddie Mercury, Sharpay Evans, Princess Diana, Judy Garland and even the Shark from Jaws.

Inside of the bunker itself, designed by Andrew Exeter, performers are dressed in leather and neon, dancing to songs and encouraging audience members to join them. Thanks to Andrew Barret Cox, who is responsible for not only the music and lyrics but the choreography and costume design of Oscar at The Crown, a tone is set as soon as audience members enter the space. There are screens that show the action going on around the venue, including “CCTV footage” of people coming down the stairs to enter the bunker itself. The show was listed as sold out on the site, but there was a surprising amount of empty space in the venue, giving those who aren’t a fan of crowds the opportunity to get away from other people if needed.

Directed by Shira Milikowsky, Oscar at The Crown has quite the unique premise - the world has ended and we are in the home of the “Exiles,” those who were excluded from society and had to go underground to save their own lives. The leader of this group of outcasts goes by the name of Oscar (Mark Mauriello, also responsible for the concept and book of the show), taking on the persona of Oscar Wilde.

The others seeking refuge in the bunker have taken the names of different women from the Real Housewives series, including Vicki (Zofia Weretka), Ramona (Elinor Morris), Erika (Kelis Alleyne) and Sonja (Luke Farrugia). Along with some other Exiles (AKA dancers - Isidro Ridout, Ran Marner, Natalie Yin and Ella Daini), the group is putting on a musical that pays tribute to the life of Oscar Wilde. 

But things take a turn when someone (Elizabeth Chalmers) turns up at the bunker, begging for help and sanctuary. Oscar immediately takes a liking to them, giving them the role of Constance, Wilde’s wife. The new “Constance,” however, does not understand why these people are putting on a spectacle in hiding as the world collapses around them, and the show splits into two plots - putting on the original Oscar Wilde musical and the tension between Constance and the others. It gets to be a bit too much, as it is quite a bit to try to fit into ninety minutes, regardless of how talented the performers are.

Mauriello is absolutely captivating as Oscar, pulling the audience in within seconds and having them wrapped around Oscar’s finger, making it easy for them to understand how the outcasts chose him as their leader. The rest of the cast is split into singers and dancers, and each of them are absolutely spectacular at what they do. Zak Marx also takes on a bit more of an acting role as Bosie, Oscar’s lover who plays a major part in the show within a show.

I was particularly in awe of Morris and Alleyne’s vocals as Ramona and Erika respectively. “Julie” is a highlight of the show, a nine-minute song that explains how Julie Cooper, a character from the television series The O.C., predicted the downfall of humanity, becoming a saintlike figure to the people living in the bunker. The segment also gives some exposition for those who are unfamiliar with The O.C. and/or The Real Housewives, with a timeline that leads to the fall of humanity as we know it. Who knew that Twitter was founded the same day that the first episode of The Real Housewives of Orange County premiered in the United States? 21 March 2006 is truly a day that lives in infamy. 

Those who are fans of Oscar Wilde may also find extra enjoyment in the show, especially when it focuses on the play about Wilde’s life. I found myself tearing up as Mauriello presented excerpts from De Profundis, a letter Wilde wrote to Lord Alfred Douglas while imprisoned in Reading Gaol. I also spent quite a large amount of time exploring the staircase on my way out of the venue, trying to identify as many quotes as I could before reaching the exit. I particularly appreciated the inclusion of the preface of The Picture of Dorian Gray, which begins “The artist is the creator of beautiful things,” something that sums up of the character of Oscar in this production quite well. 

Unfortunately, while the concept for the show is fascinating, there is something about the experience that feels a bit off. This is not the fault of the performers, who are giving it their all and gives as much of an immersive experience as possible within the boundaries of the show. Part of it is how the space is used, as there is so much emptiness within the venue that it takes away from the party vibes that are meant to be on display.

There are also rules in place that basically encourage audience members to do whatever they want, but all they really end up doing is taking videos on their phones, which can grow quite frustrating when you have grown men pushing you out of the way in order to get the perfect shot of a performer. In my opinion, banning phones would have made for a better atmosphere, really giving to the feeling of hiding away underground. 

Oscar at The Crown is a work with some incredibly catchy music and fantastic performances but struggles to find itself within not only the venue but within its own story. If you’re looking for some rock-and-roll entertainment with a splash of Oscar Wilde and a dash of Real Housewives, this is the show for you. 

Oscar at The Crown runs until 31 August at The Crown, Tottenham Court Road