Wilde’s ‘three trials’ leave one verdict

By Jess Decina

Most of us don’t like to be made uncomfortable. We like drawing lines that we ought not cross; we smother ourselves in boundaries and buffer zones. But often, someone with different ideas or values nudges us outside our comfort zones.

When it came to demolishing comfort zones, Oscar Wilde was no exception; he arrived with a wrecking ball of sexual and decadent works into Victorian England’s culture of conservatism. Wilde’s allegedly immoral writings paired with his questionable friendships with younger men led to his eventual social decline – a downfall that is captured in Moisés Kaufman’s Gross Indecency: The Three Trials of Oscar Wilde.

The title of the play seems to give away the plot. It begins with Wilde (senior David Yashin), who has taken the Marquess of Queensberry (junior Kevin Feehery) to court for libel. The Marquess, upon learning of the relationship between Wilde and his son Lord Alfred Douglas (junior Judah Frank), accuses Wilde of being a “posing somdomite.” Although the Marquess has misspelled his accusation, the implication is far from comedic. Wilde withdraws from the trial, but complications arise when he is accused of committing England’s “grossest of indecencies.”

From there, the tables are turned on Wilde, who is tried twice for his behavior. His works are questioned and various witnesses testify against him. What happens to Wilde at the end seems inevitable and almost predictable.

Here, the play’s title becomes a bit more complex. Wilde’s fate is not what’s at stake here; it becomes more than just a trial (or two, or three). The court scenes are expertly mixed with commentary from five narrators and flashbacks between Wilde and other characters. As each trial
progresses, the audience gets a little more insight into Wilde and the powerful social forces around him.

Leading the way in an ensemble cast is Yashin, who is the spitting image of Wilde, from the wig that falls neatly to his shoulders right down to his wry, unapologetic behavior. He portrays Wilde as calm but defiant, passionate but slightly selfish. Yashin has a powerful understanding of a complex character, and it certainly shows on stage.

Frank also delivers a solid performance as Wilde’s “dearest of all boys,” Lord Alfred Douglas. Wilde’s relationship with Douglas is a destructive one; as Douglas, Frank is manipulative, whiny and only interested in taking his father down — and yet Frank forces us to understand why Wilde would adore him and cater to his needs.

Although he only appears in the first half of the show as the Marquess, Feehery leaves a lasting impression with the audience as well. His utter disgust and hatred for his son’s behavior is shocking to watch, but extremely well done. Although it’s exaggerated at times (after vowing to take Wilde down at the end of Act I, he lets out an evil cackle), Feehery’s performance is nothing short of riveting.

But the show goes far beyond a simple courtroom drama. Gross Indecency forces the audience to think outside the box by mixing scenes of the trial with personal anecdotes of other characters. Wilde’s friends often appear on either side of the stage to encourage him to flee the country or deny all accusations. Whenever a letter from Wilde to Lord Alfred Douglas is read during a trial scene, Douglas is often seen on stage right intently reading the contents. Director Miriam Mills’ clever use of the stage helps meld the different aspects of the play together, giving the overall show a bigger impact.

Gross Indecency also adds distinctive
lighting, sound and visuals to capture the audience’s attention. Some of these effects are distracting — a round of gongs, rattles and bells goes off before every trial — but the quieter effects, such as subtle lighting cues, are a great addition.

The play has the potential to fall short of expectations mainly because of its difficult text. Often, characters recite long-winded monologues and it’s understandably difficult to bring meaning to page after page of words. While most of the cast have no problem, a few performers don’t deliver with any clarity or crispness of voice, which make some moments dull and meaningless. Sometimes, these crucial speeches directed at the audience sound more like Shakespearean monologues than closing arguments.

For those of us who don’t mind a little boundary-pushing, Gross Indecency is a thoughtful, provocative play that takes a good look at an artist’s responsibility to society and society’s often irresponsible reaction. Although complex and verbose at times, the play is an excellent portrait of one of England’s most troubled and
misunderstood writers.

Gross Indecency will continue its run in the Yvonne Theater tonight and tomorrow at 8 p.m. Tickets cost $5 for students and $10 for adults.