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Review: The Story Of Oscar Wilde's Betrayal At The Hand Of His Lover Plays Out In THE JUDAS KISS
By: Jade Kops Feb. 20, 2017
David Hare's biographical drama about the events preceding famous playwright, novelist and poet Oscar Wilde's conviction and imprisonment for gross indecency and his subsequent life in exile plays out in THE JUDAS KISS. Centred in truth, this work, directed by Iain Sinclair, examines friendship, betrayal, love, loyalty and greed whilst highlighting the awful history that imprisoned people for being gay. It has taken until as recently as January 2017 for Wilde and many others to be posthumously pardoned in England under the "Turing Law".
Commencing in 1895 in Cadogan Hotel in Knightsbridge, the audience is first greeted by the young manservant Arthur (Luke Fewster) and new chambermaid Phoebe (Hanna Raven), caught in a wild moment of passion in between cleaning the room of Lord Alfred "Bosie" Douglas' (Hayden Maher). Whilst this display of bare flesh is probably a bit excessive and included more for shock value, it does set the tone that proprietor Sandy Moffatt (Robert Alexander) is willing to let a lot of things happen at the Cadogan. This includes turning a blind eye to Bosie's need for constant companions, of which Irish writer Oscar Wilde (Josh Quong Tart) is one. Following Wilde's failed attempt to bring a case against Bosie's father, the Marquess of Queensberry, all done at Bosie's urging, Act 1 follows Wilde's last hours before his arrest, despite his friend Robert "Robbie" Ross' (Simon London) urging that Wilde flee the country to save himself from an unwinnable case against the charge of gross indecency. Act 2 sees the aftermath of Wilde's decision not to run, finally leaving England but living of infrequent royalty cheques and commissions, shunned by all his friends except Bosie.
Jonathan Hindmarsh has created two very different sets for the two phases of Wilde's life to play out. Recreating an opulent Victorian suite at the Cadogan, Hindmarsh has filled the intimate space with swathes of red velvet curtains, classical paintings filling the deep blue walls, French furniture and glass lamps, ensuring that the audience realises that Bosie, Robbie and Wilde lived a life of hedonistic excess. The attention to detail is incredible including the supper cart complete with silver service from which Mr Moffatt and Arthur present Wilde with his last meal as a free man. For the second act Hindmarsh captures the stark change in Wilde's circumstance with a blinding white set with only a drop cloth covered chair and a white box representing the sparse accommodations in Naples.
As Wilde, Josh Quong Tart is wonderful as he captures the man challenged by deciding between acting out of love or sense. He captures Wilde's transition from a trusting lover, believing that the younger Bosie has his best interests at heart, to realising that his lover will betray him when offered the right fee. Quong Tart captures Wilde's gravity but also his capriciousness with his pace and tone and physicality ensuring that it is clear that he is a man used to having it all, answerable to no one. He delivers Hare's text with a pinpoint precision that lands laughs perfectly and delivers barbs with a sting. He uses silence and heartbreakingly intense looks to convey the fear, shock, and hurt in ways words never will.
as The Manipulative Bosie, Hayden Maher captures the overindulged aristocrat's spoilt brat behaviour perfectly. He has made Bosie thoroughly unlikable to those that can see through his antics but in a way that it is understandable that Wilde was drawn in to his spell. His physicality and his expression ensures that it appears that he is hiding something, waiting till he gets his own way. Maher maintains Bosie's more refined, toffy accent whilst having a texture to plead and explode.
Simon London's portrayal of the third historic figure, Robert "Robbie" Ross captures Wilde's first gay lover's sensibility and reserve, providing a contrast to Bosie's recklessness. London presents Robbie with a rod-straight severe stance alluding to the control Robbie is trying to maintain over the situation and in particular the influence he wants to have over the stubborn and love sick Wilde. He gives the impression of the 'good mummy's boy', despite the fact that he was the one who seduced Wilde and he too could be charged with gross indecency if the authorities connected him to Wilde. He does however give Robbie a sincerity that he really wants what is best for Wilde despite the fact Wilde thinks he is betraying him by remaining in contact with his estranged wife.
As the fictional Sandy Moffatt, Robert Alexander gives the hotelier a quite gravitas whilst conveying that he is a sympathiser. He presents Moffatt as a loyal servant who also values the longevity of his staff, favouring Arthur over the newer Phoebe. As Arthur, Luke Fewster presents the man servant with a gangly youth that wants to please but still fumbling with what is expected of him, flustered by Bosie's lack of manners and civility. As Phoebe, Hanna Raven ensures that it is clear that the young chambermaid is new and not used to refined, generous people like Wilde. Her physicality and uneasy dialogue sit well with the fidgety young woman that needs money and is crestfallen when Moffatt rejects Wilde's offer. Rounding out the fictional characters, David Soncin fills the role of Bosie's Italian fisherman lover Galileo. Whilst Galileo's lines are in Italian, his physicality conveys his intent and his confidence and ease at parading around Wilde's home in the all together is commendable.
THE JUDAS KISS is a heartbreaking tale, not just because of the dark history of persecuting homosexuals, but also the betrayAl Wilde experiences at the hands of the man he loves. In a world where there are still places where people are still persecuted for who they love and even if their love is allowed, it is not accepted in the same way as heterosexual love, this is a reminder that at the heart of the argument is love. It is also a reminder to be honest, honourable and truthful with friends and loved ones, and unfortunately, sometimes a degree of scepticism is necessary.
Old Fitz Theatre, Woolloomooloo
15th February - 11th March 2017
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