Precise, Nuanced Performances Make Gross Indecency Brilliant

By Elizabeth Breed


Admittedly, I don’t consider myself to be a scholar when it comes to the life and works of Oscar Wilde. Of course, being involved in the theatre world, I have studied his play The Importance of Being Earnest and I knew of An Ideal Husband and his novel The Picture of Dorian Gray. I had no pre-existing knowledge, at least no extensive knowledge, of his personal life as I entered the Grandon Theatre at Theatre Cedar Rapids on Saturday night. To be honest, all I really knew was that he was famously homosexual, a label that was coined soon after, and perhaps as a result of, his London court trials beginning in 1895. TCR’s Gross Indecency: The Three Trials of Oscar Wilde chronicles those trials in a precise and affecting manner.

Written by Moises Kaufmann and the Tectonic Theatre Project in 1997, Gross Indecency utilizes letters, biographies, and Wilde’s own work to tell the story of his persecution and ultimate conviction of gross indecency, a term defined by Victorian law as being any actions that could be considered immoral. In Wilde’s case, it was an accusation of sodomy stemming from his relationship with his companion Lord Alfred Douglas. Kaufmann et al. are most famous for creating The Laramie Project, a work that tells the story of the aftermath of the murder of Laramie, Wyoming college student Matthew Shepard, and Gross Indecency is written in a very similar manner. Nine actors portray 40+ characters in a fast paced show that elaborates on Wilde’s three trials - not just the criminal court cases, but also the trials of Wilde’s sexuality, his morality, and his art.

Walking into the Grandon Studio on Saturday, I can’t say that I was “transported” into the world of Oscar Wilde, at least not in the literal sense. A minimalist set, the stage floor painted black, serves as an empty canvas on which the actors play. The very intimate space has no large set pieces, but three upholstered period chairs, a platform and rail for the witness stand, and several boxes to provide for levels served many different purposes effectively. An interesting feature of the set was a series of hooks on stage right and stage left. Hanging coats, hats, and other costume pieces there allowed the actors easy access to them when needed and helped create a smooth transitions for the actors' many characters. One particularly nice choice was to have all of the actors playing newspaper reporters wear the same hat, which they would pass off to one another in a staging ballet. The accessibility of the costume pieces was very helpful in keeping up the pacing of a quite difficult script, and the audience was able to stay in the world of the play that the nine skilled actors were able to create.

The actors’ portrayals of the 40 or so characters necessitated fast changes from one role to the next. Many of those switches were gracefully accomplished by the change of accents or dialects, or even slight nuanced postures or gestures. The cast was able to master several English dialects, as well as Irish, Scottish, French, and even a stereotypical American accent. The majority of the time the actors were able to hold their accents with ease, with only occasional slip ups, such as a few dropped accents here or there, and the occasional insertion of an accidental Southern accent, but overall, very realistic and unforced, all around! Since I did not notice a credit of a dialect coach in the playbill, I assume it was the actors and director who worked to make their dialects genuine.

David Morton elegantly portrayed the role of Oscar Wilde. As the doomed playwright, Morton’s Wilde was sophisticated, regal, and even at times gamesome, especially when being questioned by the opposing attorney in Act One. Morton successfully fused a masculine energy with a somewhat feminine gait and posture; mixing that with a timbre one would liken to that of a skilled Shakespearean actor made his performance nothing less than entrancing. When he was speaking, the audience could barely tear their eyes away from Morton; it was evident early on in the production that he had the audience wrapped around his little finger. My friend who attended the performance with me professed her disappointment felt the very few times that Morton was not onstage. Delightfully eloquent and beautifully portrayed!

Matthew James filled the part of Lord Alfred Douglas, Wilde’s companion and lover, with the grace of any nobleman of that time period. Taking full ownership of the role of Lord Douglas, he also mastered several smaller roles with gusto, especially that of Marvin Taylor, a modern day Wilde scholar, in a cute, but slightly misplaced scene. Every role James plays is realized with his entire body, and his moves and dialect are precise. In one particularly touching scene towards the end of the play, Lord Douglas is reading a letter that Wilde has written, which Morton narrates. James does not speak a word, but entire volumes of emotions are recited in his glossy eyes. It is truly heartbreaking.

In Act One, the two counsels are played aptly by Greg Smith and Keith A. Kenel. Smith’s Sir Edward Clark is very intelligent and assertive, but it sometimes seemed was bogged down by the dialect. Despite this, moments of true sympathy occur between Clark and Wilde, and Smith is able to adjust to his strength to meet his powerhouse scene partner. Also lovely are his moments of cross-examination, when he defends his client against his accusers with a cleverness that was very enjoyable to watch. Kenel’s Edward Carson, the prosecuting attorney, was a bit uneven at times, suffering from an imprecise portrayal and an occasionally dropped accent, but he was able to recover during times of direct philosophical dialogue with Wilde and he was truly able to shine.

Kevin Burford’s Act One character is that of the Marquess of Queensbury, Lord Douglas’s father and the man accused of libelous remarks in the first trial. Burford’s portrayal is passionate and unyielding, but again was hindered by the dialect. Many of Burford’s early speeches provide a fair amount of exposition in the first few minutes of the play, and most of them were quite hard to understand, perhaps due to the strong dialect as well as the fast pace that for a majority of the time is very precise, but early on seemed a bit careless. Burford was skilled enough to remedy this as the play progressed, and the rest of his performance, and his other roles, were stellar.

The cast is rounded out by ensemble actors Mike Wilhelm, Paul Freese, Andrew Clancey, and Bryant Duffy, with all the men in the cast serving as narrators, newspapermen, prostitutes, and others. Perhaps my favorite scene in the show was when the four men portrayed the four men who were Wilde's accusers in his sodomy trial. A mixture of smarm, sympathy, and detestation was adamant in this scene. Due to the relationship the audience had established with Wilde early on in the performance, we felt as if we were to despise these men, but all four actors were able to keep empathy and surprising likability in their portrayals, particularly that of Freese’s Fred Atkins and Wilhelm’s Alfred Wood.

One of my favorite performances of the night was that of Wilhelm’s George Bernard Shaw. The only other familiar name to me, Wilhelm’s Shaw was exceedingly likable and almost playful, to the point of nearing close territory of becoming a caricature due to the thick Irish accent, but he was able to hold back just enough that the portrayal stayed truthful. Duffy’s Act Two role of Frank Lockwood, prosecutor in the final, damning trial, was haunting and contained, even in a simple hand gesture made in a non-speaking moment, a moment paralleled in an earlier scene where Duffy portrays one of Wilde's accusers, Sidney Mavor, a time where a powerful, nuanced turn of the body can say so much by speaking so little.

All in all the cast and crew of Gross Indecency has much to be proud of. Through the use of little more than their bodies, the nine actors are able to convey a very big message through very nuanced performances. The text of this piece is not easy to perform, and it’s relevance is not at first evident. But in an age of societal morality issues, particularly those of the rights of homosexuals in this country, this piece is far too relevant, tragically it seems. A truly lovely night of theatre!

Gross Indecency: The Three Trials of Oscar Wilde plays through March 3rd in the Grandon Studio at Theatre Cedar Rapids. Showtimes are 7:30pm Thursday through Saturday, 2:30pm Sunday. Tickets here.

City Circle's Christmas Carol not to be missed

by Elizabeth Breed

Coralville - Charles’s Dickens A Christmas Carol is arguably the most famous holiday tale of all time. We all know the story. Crotchety, greed old man Ebenezer Scrooge is too tight fisted with his money to realize that wealth perhaps isn’t jangling in your pockets, but rather the love you feel from other people. It takes him a haunted vision, and three spirits to help him realize this truth. I’ll assume that I don’t need to elaborate on the tale, because this beloved story has been engrained in our hearts since we were young. When I walked into the Coralville Center for the Performing Arts on Friday night, I was ready to hear the story I had heard a thousand times before, and I was ready to become immersed in the tale again. I was ready to experience the show that millions have grown to love, and with the help of City Circle Acting Company of Coralville, I was not disappointed.

The man himself, Ebenezer Scrooge, is played skillfully by veteran actor Scott Strode. Strode filled Scrooge’s shoes with grace, and he was able to handle any series of complex emotions that a role like this requires. Scrooge’s transformation was well played by Strode, and the audience could truly feel the joy felt by Scrooge at the end of the play after he has his revelation. Strode was able to bring moments of honest humor to the role, but that being said, at many times I felt it a little inappropriate to the story. Specifically, early on in his first scene in the office, I noticed the audience chuckling a few of Strode’s deliveries. While humorous, I felt that it didn’t necessarily fit the character at that stage in the play. Because of that, it made it difficult for me to invest in Scrooge’s story because there seemed to be no extreme between greedy Scrooge and reformed Scrooge. That being said, I found Strode’s performance quite enjoyable during more touching moments, particularly when Scrooge witnesses the Cratchit family prepare their Christmas dinner.

Monty Beal as Bob Cratchit and Robin McCright as Mrs. Cratchit lead their brood with as much touching humor as I’ve ever seen portrayed. Beal’s portrayal of Bob contained a level of innocence and devotion that made Bob even more likable than already presumed. McCright’s snarky Mrs. Cratchit was lovely, and her interaction with the young actors playing her children was both playful and honest. The Cratchit children, played by Ally Halverson, Logan Natvig, Conner Ammar, Isabel Jones, and Stephanie Engelhardt, had incredible stage presence and chemistry, making them reminiscent of a real family. Additionally, Katey Halverson’s portrayal of Tiny Tim was both touching and frankly, downright adorable. A particular moving moment was when Tiny Tim sings a beautiful tune, completely a capella. Halverson is able to evoke many powerful emotions for such a, excuse me for saying, tiny actor. That young lady has great things in her future.

A favorite performance of mine was that of Patrick DuLaney in the role of Jacob Marley. His entrance onstage punctuated with a thunderous wail was haunting, and the rest of his delivery of his short scene seemed to be something straight out of a horror movie. It added a level of tension that made the audience uncomfortable, but in the best way, adding desperation to Scrooge’s journey. Very well done, indeed.
The three Ghosts are played by Josh Sazon, Steve Rosse, and Richard Adams, and all three of them portray very memorable secondary roles. Sazon’s Ghost of Christmas Past is poised and eloquent, and his other role as Snarkers later in the play includes a dialogue between him and DuLaney that was an audience favorite, inciting applause for the short exchange. Rosse’s Ghost of Christmas Present walks a fine line between poignant and lighthearted. Adams’s portrayal of the Ghost of Christmas Past is also particularly remarkable considering the only body part you can see are his hands and one only hears him speak through loud, haunting sighs of air. Additionally, Adams’s portrayal of Young Ebenezer is quite skilled, as he is able to convey a sense of growth, as well as descent in a very short period of stage time.

The ensemble is rounded out by many stand-out performances. It’s almost as if the rest of the cast were populated with scene-stealers! Brett Myer’s Fred, Scrooge’s nephew, is lively and truthful, and because of his stage presence, the audience falls in love with him immediately. Danielle Paulsen pulls double duty as Belle, the woman that Young Scrooge falls in love with, and Fred’s wife, two roles that she is able to make her own. Steve Rosse and Jean Grewe as Mr. and Mrs. Fezziwig are flamboyant and entertaining, and Michelle Altmaier as Dorothea, a party guest of Fred’s, completely steals the scene with her charm and humor.

Special accolades are due to the many children actors in this play. In addition to the Cratchit children, every child’s performance in this play was very endearing and very accomplished. Bailey Raso as Nellie, the young girl that Scrooge speaks to the morning after the ghosts’ visit to him, is able to hold her own against Strode’s Scrooge. Andy Stewart as the young boy version of Scrooge is empathetic and Lily O’Brien’s portrayal of Scrooge’s sister, Fan, is equally as loveable.

Particular mention should be made to the design team. The stationary, basic set was very effective, as the actors were able to use the same structure in all the scenes. Different locations were emphasized by set dressing and lighting effects, presenting a space uncluttered with large, unnecessary set pieces. The only critique I have is in regards to one particular set change. During a scene change into the Cratchit home, the Cratchit children were bringing on their own set pieces, and then exiting the stage, only to return later at their cue. It seemed awkward and could have been prevented if some of the adult actors could have brought on the pieces instead. City Circle did use the space to its full advantage, using beautiful and enhancing lighting design, as well as a fun effect of having fake snow fall onstage during one pivotal scene from Scrooge’s childhood.

All in all, the cast and crew of A Christmas Carol did a marvelous job in this holiday staple. Dicken’s story is a classic, and the City Circle production not only did it justice, but it also enhanced it in the best way possible through apt performances, and a very beautiful design. Truly a production not to be missed!

The Curious Savage Commits to the Craziness

by Elizabeth Breed

Iowa City - I am always excited to experience theatre that I’m unfamiliar with. I find that when I go to a play I’ve neither seen or read before that I am able to dive into my role as an audience member, making it much easier for me to become a part of the world of the play. I knew nothing of the plot of The Curious Savage much less the production history, but I knew that it was the second show of the “Here I Stand” season of Dreamwell Theatre. I had no preconceived notions or expectations and to be honest, I was completely clueless as to the fascinating night of theatre that was ahead of me.

The Curious Savage by John Patrick is the story of Ethel Savage, a wealthy, eccentric widow whose step-children have committed her to "The Cloisters," a home for those individuals who are, for lack of a better word, odd. Ethel has been sent to The Cloisters because of her views on what should be done with her family’s 50 million dollar estate and her desire to pursue a career on the stage, which her children decide is not keeping with the Savage family reputation. Little do they know, that Ethel has drained the family funds, put them into paper bonds, and has hidden them somewhere unknown to everyone but herself. Chaos ensues as Ethel’s children attempt to pry the bonds from her and she tries to come to terms with her commitment and the crazy cast of characters that are her co-inhabitants at The Cloisters.

The lights come up on the common room of The Cloisters, a mix of a game room, a library, a music room, and for one patient, an art studio. Technical director Rich Riggleman uses the small space to its best advantage, using the existing fireplace as a centerpiece for the scene. My only complaint about the stage comes from the actor in me. In many of the scenes, there are quite a few actors onstage, and I felt, even in the audience, a sense of claustrophobia, like there wasn’t quite enough playing space. That being said, director Gerry Roe does stage the action in such a way that the actors did a magnificent job with moving of the set pieces to fit their needs, and anticipating any difficult staging that may have had some obstacles in the way.

Linda Merritt, in her Dreamwell debut, portrays Ethel Savage with gusto and electricity that one would be hard-pressed to find even on a New York stage. From her first appearance with her blue hair, clutching an oversized teddy bear, Merritt commands the stage. Her performance seems entirely organic, which leaves the audience pondering where Ethel ends and Linda begins. Merritt conquers her role with raw fearlessness mixed with an innate lovableness that makes Ethel seem like she could be a member of anyone’s family.

Ethel’s three-stepchildren are eloquently played by John Crosheck, Traci Gardner, and Stephen Polchert. Crosheck’s Titus is calculating and brash, but he is very skilled at the simple nuances that this “bad guy” requires, whether it’s a booming outburst or a quiet threat aimed at his step-mother. Gardner’s icy Lily Belle is reminiscent of any modern day heiress who you love to hate, and her sophisticated yet manipulating charm makes an audience member feel as if they were watching the devil herself. In addition, Gardner’s dialogue with Merritt is acidic and very, very funny. Polchert’s bumbling and borderline innocent Samuel is the one character that makes this trio remotely empathetic. Polchert’s spot-on comedic timing with Samuel’s few lines is the mark of a seasoned professional.

Probably my favorite performance was brought to life by Elisabeth Ross, and it was obvious that the audience agreed with me. Ross’s portrayal of self-conscious Fairy Mae walked the fine line between outlandish and completely genuine. Fairy Mae seems blissfully ignorant of much of the world, and Ross’s choice to make the character seem childlike was very effective. However, she was able to engage a part of Fairy Mae that made it seem like she knew a big secret that the audience was not privy to. Knowing Elisabeth personally, I would say kudos to Roe for casting her in a role that seems to be tailor-made for her.

The rest of the patients of the cloisters are beautifully rounded out by Ben Singer as the calm Jeff , Monty as the playful Hannibal, Meg Dobbs as the almost completely silent artist Mrs. Paddy, and Theresa Meeks-Mosley as the tragically delusional Florence. Each actor is able to maintain their own unique performance while simultaneously adding dimension to the strong dynamic of the ensemble. Particularly apt is Singer’s portrayal of the young Jeff, a man who has come home from battle to find he has a “scar” on his face, and who has lost his passion for playing the piano. He finds himself in The Cloisters after returning home, and whose scar is in reality an emotional scar left after being the only survivor of his unit. Singer’s portrayal is simple yet evocative, a perfect fit.

Special consideration goes to Roxy Running and Mark Nidey, the nurse and doctor of The Cloisters, respectively. The two “sane” characters provide compassion and a sense of neutrality for the hijinks occurring around them. Running’s portrayal of Miss Willie was particularly capable as the understanding nurse who may have other reasons for staying at The Cloisters, and Nidey’s portrayal of the Dr. Emmett made him incredibly likable from the on-set. The audience could feel that the doctor was rooting for Ethel just as much as we were.

The most important message to take away from this show is that family doesn’t have to be the family you’re born with; it can also be the family you choose. Ethel discovers that the hurtful family she has been thrown into is perhaps not the family she is mean to endure. The Cloisters may be where her true family is, as seen by their unconditional love and acceptance of their new friend. That’s how this reviewer feels. That she was thrown into a crazy world without any expectations, and found that the heartwarming, and hilarious story was something she could relate to whole-heartedly. Bravo cast and crew of The Curious Savage, and bravo Dreamwell Theatre, on yet another beautiful piece of art!