by Steven Pisano
Oscar Wilde once said early in his life: “Somehow or other I’ll be famous, and if not famous, I’ll be notorious.” Well, Wilde was both. His fame as a wit and raconteur was cemented long before he wrote the plays and stories for which he is best remembered today.
The notorious side came in 1895 when Wilde, a married man with two children, was put on trial and convicted for an affair he had with Lord Alfred Douglas. Wilde went to jail for 2 years, lost all of his money, was forced to flee his homeland in shame, and eventually died in a cheap Paris hotel at age 46.
It was a tragic story, dripping ripe for opera.
So why does so much of Opera Philadelphia’s Oscar feel so tame? With music by Theodore Morrison, a libretto co-written by Morrison and John Cox, and directed by Kevin Newbury, the story takes a while to get going. Much of the first act is consumed by Wilde sitting or standing in a drawing room talking with Ada Leverson, a minor writer and great friend, who is hosting Wilde at her house.
Another loyal friend, Frank Harris, soon arrives and the three of them talk even more. Harris tells Wilde he can spirit him out of Ireland on a yacht before sentence is passed. But Wilde says he wants to stay and face the music. They talk and talk and talk.
After all this oh-so-polite yakking, the stage finally explodes at the end of Act One as Wilde’s trial is portrayed as a grand farce run by dolls and stuffed animals come to life, with a jack-in-the-box as the judge. It’s a little cliché, but the very colorful and rambunctious display of miscarried justice is well done. Most importantly, the opera suddenly wakes up, and from here to the final curtain, it is an entirely different work, expertly dramatizing the story with superbly imagined scenery and lighting.
Moreover, this production is simply crackling with first-class singing and acting, and if you can slog through the early gabfest, you’re in for a very entertaining evening, well worth the trip to Philly.
Countertenor David Daniels (Oscar) anchors the opera with his masterful singing. As he hulks about the stage, you can feel the burden of his troubles weighing physically on his slumping shoulders. (This is the second great counter-tenor performance that I have heard this season, the other being Eric S. Brenner’s unforgettable turn as Doodle in the Prototype Festival’s The Scarlet Ibis.)
Soprano Heidi Stober (Ada Leverson) shows such warmth and affection toward Wilde, I initially mistook her for his wife (who is not a character). Leverson protectively reassures Wilde and reminds him of old times: she's the type of friend we all should have when we are in trouble.
William Burden (Frank Harris) is very believable as one of Wilde’s most loyal friends, his tenor singing was strong and reassuring. Baritone Dwayne Croft (Walt Whitman) serves the role of chorus during the opera, introducing us at the start to the basic facts of the story and periodically reappearing to explain the action.
Reed Luplau gives a mesmerizing and ghostly performance as Lord Douglas (a.k.a. "Bosie"), even though he doesn't sing a single note. Luplau is a classical dancer, and his role is played entirely through movement. This was, I think, an inspired dramaturgical decision: like Oscar, I couldn't keep my eyes off of him.
The orchestra, led by Evan Rogister, is very assured, filling the venerable Academy of Music with a rich sound. Special mention must also be made of the wonderful sets by David Korins, the period costumes by David C. Woolard, and the moody lighting by Rick Fisher.
Oscar will be performed four more times on February 8, 11, 13, and 15. Tickets are available here).
(All photos by Steven Pisano. Additional pics here.)