“”It all appeared to be wisdom and beauty and … enchantment,”” stammers Lord Alfred Douglas while recounting his first meeting with Oscar Wilde. Throw a little tragedy into the mix, and you have “”Gross Indecency: The 3 Trials of Oscar Wilde,”” the latest play presented by San Diego’s Diversionary Theatre. The city’s only gay and lesbian theater is well known for putting on excellent plays, and does not fail to deliver in this new production.
Focusing on the persecution of the popular British author and poet, “”Gross Indecency”” is a fascinating commentary on society’s reaction to homosexuality. When the first trial begins, Wilde is England’s reigning author with two triumphant plays on the West End stage. Three months and three trials later, Wilde is convicted of sodomy, and his career and life are in ruins. The production provides a searing look at the grinding, relentless crush of English bureaucracy while it puts Wilde’s very art on trial.
The playwright, Moises Kaufman, does an exceptional job of revealing the hypocrisy and narrow-mindedness of the British government, as well as bringing to light Wilde’s brilliant way with words and his commitment to art and beauty. The majority of Kaufman’s text is taken from the book “”The Three Trials of Oscar Wilde,”” compiled by H. Montgomery Hyde from shorthand notes from the trials. The trial excerpts are interspersed with personal biographies, unpublished memoirs, journalistic accounts of the trials and Wilde’s own writing, giving the audience a glimpse into both the public and private life of one of England’s greatest playwrights. As a result, “”Gross Indecency”” is more than just a boring play set in a courthouse and full of judicial jargon — it comes alive with a fabulous cast and an unconventional way of storytelling.
The small, intimate atmosphere and dimmed house lights of the Diversionary Theatre draws the audience into what has been described as the trial of the 19th century. Wilde, played perfectly by Farhang Pernoon, is being persecuted by his lover’s father, the eighth Marquess of Queensbury, for “”posing as a sodomite.”” Standing in a corner with an outraged expression is Angelo D’Agostino-Wilimek, beautifully cast into the role of Lord Alfred Douglas, Wilde’s lover. Throughout the performance, his passion and emotional outbursts keeps the audience on the edge of their seats with a sense of mourning for this doomed couple.
Despite the heavy subject matter, Pernoon keeps the atmosphere light with his witty comments. “”Here was a brilliant man who knew how to dazzle and provoke with language,”” said director Rosina Reynolds. “”Not since Sheridan has a playwright so effectively held a mirror up to society and encouraged the members of that society to laugh at themselves.””
This droll quality is present in nearly all of Wilde’s responses and comments, especially while in the courthouse. He presents himself as a very strong, confident, nearly smug man who has no need to answer to anyone. During cross-examinations, he answers every question with a rhetorical one, rarely ever giving a clear response.
Having been given the role of the jury, the audience is involved in the play from the very beginning. In Wilde’s numerous discourses about the interconnectedness of beauty, life and art, it is impossible even for the most uninterested audience member to not feel enlightened or, at the very least, provoked into deeply thinking about such abstract issues. Wilde’s brilliance is that within his witty banter, serious issues are addressed relating to class, privilege and world order — provocative ideas that began to make this world power uncomfortable and challenged. It is tragic to see how invincible the famous author feels in the courthouse, perhaps because he is at the peak of his popularity. Until his arrest, Wilde strongly (and very vocally) upholds the belief that he is entitled to lead a life of his choosing without having to apologize for it, or worse, hide it.
Most of all, “”Gross Indecency”” is a massive social commentary about 19th century England. The play is imbued with a sense of hypocrisy at every level. Gay men with whom Wilde had brief affairs volunteer to speak against the author, claiming that they were raped or bribed into spending time with him. It is not surprising that double standards in politics are also a major factor leading to Wilde’s verdict. Until the trial, England chose to turn a blind eye to the alleged number of homosexual men in the Liberal Party. With the trial being followed by almost every household, the prime minister threatens to remove the Liberal Party if the author is not found guilty. In this respect, it is clear why Wilde becomes a scapegoat of the homosexual community, along with a government that is attempting to hide possible scandal within its own ranks.
This incredibly original production would be a tiring affair without the marvelous cast. Pernoon delivers each eloquent line effortlessly, keeping the audience and other cast members laughing at the dry humor and clever play on words. His performance is surprisingly natural, as seen by the ease with which he plays his character. D’Agostino-Wilimek plays his character with such ferociousness and passion, it is difficult to imagine Lord Douglas as someone else. The lovers’ interaction with each other leaves the audience reveling in their obvious desire and attraction for each other, both mentally and physically. “”You are my ideal of admiration and joy,”” Wilde says to Douglas during a particularly emotional moment, leaving no doubt in anyone’s mind that he will never regret or question this controversial relationship. Some may argue that D’Agostino-Wilimek is overly dramatic as Douglas, but this only brings out the naivete and idealism of his character. Douglas Ireland plays the young lover’s father, acting with such credibility that it is impossible not to hate him by the end of the tragedy. His volatile anger and lack of tolerance for his tempestuous son lead to many yelling matches between the two, much to the amusement of the audience.
The simplistic set and costumes are a stark contrast to the fluidity and beauty of the dialogue. Harsh lights convey the tone of the courtroom very well, switching to softer ones when the characters recall a past incident. The period costumes are ideal for the setting; they display the time and place perfectly. Nostalgic moments are aided by beautiful music, easing the transitions between settings; there is no physical force needed to indicate the change.
One minor drawback in watching this play is that it is slightly confusing during the first half. It is intended to give the background of Wilde’s life and all the details leading up to the trials. There are a lot of facts and statements being thrown around, so although it might be difficult to really understand what is going on; keep in mind that everything will come together beautifully in the end. The disjointed nature of the play, with numerous narratives, personal biographies and journalistic accounts, only adds to its unconventional quality and enjoyability.
Overall, the production is very introspective and entertaining. The tremendous emotions involved in the performance are captivating, while the intimacy of the Diversionary Theatre is a huge draw. Be sure to reserve your tickets while they are still available.
“”Gross Indecency”” will be playing at the Diversionary Theatre through March 8. Ticket prices are $16 for students. For tickets and info call (619) 220-0097 or visit http://www.diversionary.org.
