THEATER REVIEW: “Dorian” at Irish Classical Theatre
- Anthony Chase
- Mar 30
- 6 min read
Oscar Wilde's Trials Mirror His Fiction in 'Dorian'
By Anthony Chase
There are moments when the theatrical stars align so divinely that the resulting production transcends expectations. Such is the case with Dorian, the North American premiere adaptation by Phoebe Éclair-Powell and Owen Horsely now playing at Irish Classical Theatre Company.
This provocative work weaves Irish literary genius Oscar Wilde's gothic masterpiece The Picture of Dorian Gray with the author's own tragic legal battles. The result is a Brechtian exploration of gender and history that manages to be both intellectually stimulating and thoroughly entertaining. That a pre-opening audience comprised of high school students and retirement community residents reportedly embraced the show with enthusiasm speaks volumes about its accessibility and appeal.
To fully appreciate Dorian, familiarity with two parallel narratives might be helpful. Wilde's only novel follows beautiful young Dorian Gray, who trades his soul for eternal youth after sitting for a portrait by artist Basil Hallward. Under the hedonistic influence of Lord Henry Wotton, Dorian pursues a life of depravity while remaining physically perfect and young, as his hidden portrait bears the grotesque marks of every sin he commits.
Meanwhile, Wilde's own life unraveled through three connected trials in 1895. After suing the Marquess of Queensberry (father of Wilde's lover, Lord Alfred Douglas) for libel when Queensberry left a card at his club accusing him of "posing as a sodomite," Wilde faced disaster. During cross-examination, Queensberry's attorney Edward Carson strategically used passages from The Picture of Dorian Gray to suggest the novel contained homosexual themes and immoral content. Wilde famously defended his work by declaring "there is no such thing as a moral or an immoral book," but when ample evidence of his relationships with young men emerged, he withdrew his case.
The evidence gathered was subsequently used to prosecute Wilde for gross indecency under the Criminal Law Amendment Act. After one hung jury, a second trial convicted him, resulting in a sentence of two years hard labor that the judge deemed "totally inadequate" given the "severity" of the crime. Today, this conviction is viewed as martyrdom, and Wilde has attained the status of Saint Oscar in the public imagination, especially within the struggle for LGBTQ+ rights.
Dorian intercuts the novel's plot with these trials, drawing powerful parallels between Wilde's fictional character and his own life. Under Mason Beggs' direction, the production unfolds on Collin Ranney's set, reminiscent of the Studio 54 era -- a theater space transformed into a disco adorned with chandeliers, amplified with the occasional dash of mylar confetti. The costumes similarly evoke that period, as do references to disco-era gay bars like London's Heaven. This aesthetic provides a versatile performance space while perfectly complementing Wilde's observation that one should "either be a work of art, or wear a work of art," highlighting his belief in life as aesthetic performance.
The production benefits from Lowden Flower's lighting design, Danielle Rosvally’s fight staging, choreography by Willa DeWhisp, and Beggs' own sound design which is solidly embedded into the proceedings, augmenting the emotional impact at every turn. Together, these elements create an immersive theatrical experience that honors Wilde's artistic sensibilities while interrogating the tragic consequences of his lived experiences.
For the record, Basil Hallward’s portrait of Dorian is entirely left to our imaginations.
Beggs' direction displays remarkable finesse in navigating the play's complex dual narrative structure. He orchestrates seamless transitions between Wilde's novel, his legal trials, and anachronistic cultural references using theatrical devices that clarify rather than confuse. The production balances darker themes with moments of wit and levity that honor Wilde's own literary voice. The pacing never flags, even as the play moves between devastating courtroom confrontations and decadent merriment. This directorial command creates a cohesive whole from potentially disparate elements, ensuring that both storylines illuminate rather than overshadow each other.
Beggs makes excellent use of his assembled creative team, striking sensory elements throughout. Shifts between characters are effectively communicated with vivid costume pieces. Shifts in location and tone are signaled with light and sound. Moments of physical violence are punctuated with garish red glitter, creating a disturbing juxtaposition between brutality and beauty. In one memorable sequence, Dorian is taunted with pages torn from a paperback copy of The Picture of Dorian Gray, literature itself becoming a weapon. The highly disturbing physical violence staged by Danielle Rosvally is particularly effective in the killing of Basil Hallward, evoking the visceral horror of a gay bashing with unflinching clarity. Indeed, Rosvally's fight direction creates moments of genuine shock that resonate deeply with the play's themes of persecution and violence.
The three-person ensemble functions with clockwork precision, spinning out this dizzying story with breathtaking skill. They introduce themselves as three Victorian gentlemen, and then proceed to dismantle all our preconceived notions about men of that uptight era.
Kristopher Bartolomeo delivers a genuine breakthrough performance, perfectly cast in a role that allows for fearless exploration of gender identity. Bartolomeo commands the stage with unbridled energy and stunning physical commitment, creating a riveting portrayal of Dorian Gray and Lord Alfred Douglas. Particularly notable is the actor’s vocal versatility, which enhances the emotional resonance of the performance while adding contrast and depth to the characters. This captivating portrayal seamlessly blends bold physicality with nuanced expression, brilliantly embodying the production’s themes.
Dave Spychalski delivers an equally explosive breakthrough performance, fully inhabiting the flamboyancy of Lord Henry Wotton and bringing fascinating complexity to Oscar Wilde. His versatility shines as each character is imbued with distinct personality and depth. As Sibyl Vane, Spychalski crafts a distinctly working-class character whose Shakespearean performances -- especially Ophelia -- add an ancillary narrative layer to the production. His transformations between characters are executed with precision and conviction, showcasing a remarkable ability to shift seamlessly between roles while maintaining emotional resonance.
Brian Brown completes this theatrical triumvirate, embodying a cavalcade of supporting characters including the artist Basil Hallward, Oscar's good friend and first lover Robbie Ross, attorney Edward Carson, Sibyl's brother James Vane, and a nurse. Brown’s ability to distinguish each role adds texture to the narrative, ensuring these characters serve as vital threads in the production’s intricate tapestry and contributing to the ensemble’s relentless energy and cohesion.
Together, these three actors launch headlong into the thrilling battle of narratives with high style and relentless energy, creating a theatrical dynamo that propels the production forward with unstoppable momentum.
This production represents the continued artistic evolution of Irish Classical Theatre Company under artistic director Keelie A. Sheridan. Dorian marks Sheridan's second consecutive North American premiere, following her successful production of Erica Murray’s The Loved Ones. Tellingly, Sheridan reportedly postponed announcing next season because larger theaters poached two of her intended productions -- suggesting an artistic director who positions herself within a national, rather than merely local, theatrical conversation. It bears mention that Sheridan was recently included on this year's Irish Echo 40 Under 40 list, a recognition given by the oldest Irish newspaper in America celebrating distinguished Irish and Irish Americans under forty from across the nation. The rise of Sheridan is thrilling, especially when we consider that, hired in the summer of 2023 after a national search, she has just gotten started.
As a fascinating side note, Oscar Wilde represents an individual navigating multiple intersections of marginalization. Ironically, presenting this play at the Irish Classical Theatre Company highlights what critic Terry Eagleton addresses in "Saint Oscar" -- how English cultural imperialism effectively "annexed" Irish writers like Wilde to its own literary canon. Eagleton even suggests that Wilde's Irish identity was more threatening to the British establishment than his sexuality. Despite describing himself as "a most recalcitrant patriot" who believed "Ireland should rule England," Wilde's Irish nationalism has often been marginalized in favor of readings emphasizing his sexuality or dandyism. The playwrights don't address this aspect of Wilde's identity, which is not a fault but merely an observation. The man looms so very large in the LGBTQ+ discussion.
Throughout his life, Wilde celebrated the concept of "posing" as a creative act and path to authenticity. He also stated that “Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.” His carefully cultivated public image -- with flamboyant dress, witty epigrams, and distinctive mannerisms -- was itself a form of artistic posing. Ironically, this word became weaponized against him in Queensberry's accusation, twisting Wilde's aesthetic philosophy into something criminal. The play quotes Wilde saying that "Wickedness is a myth invented by good people to account for the curious attractiveness of others" -- a statement that resonates profoundly within the production's exploration of morality, art, and identity.
Dorian at Irish Classical Theatre Company is daring and rewarding, a production that challenges audiences while remaining accessible, excavates history while speaking to contemporary concerns, and ultimately reminds us why Wilde's work and life continue to captivate our imagination more than a century after his death.
Dorian runs through April 13th at Irish Classical Theatre Company, 625 Main Street, Buffalo.
