Production History
Upon reviewing fifteen different critical reviews from theaters across the nation, there have been common directions and interesting approaches in the categories of casting, acting, directing, concept, set, and lighting.
Much of the casting and acting categories intertwine, but for the purposes of this dramaturgical book I will split the two into separate categories. The brief section of casting will touch on demographic of the actors and physical appearances of Oscar Wilde. One particular performance of Gross Indecency at the Cortland Repertory Theatre decided to cast a younger set of actors to portray the characters. For this production Joy Crocker from the Post Standard of Syracuse, New York, noted that age did not matter because “[the actors] snap to the rhythmic pace with precision” (Crocker 2009). This opens up new opportunities to look for acting abilities rather than ability paired with a certain image.
One man from the play that conjures up a certain image of wavy angelic hair is, of course, Oscar Wilde. However, two productions from the selected reviews notably portrayed Wilde as a tall bald man. What the Wimberly Theatre and the Boston Center for the Arts had discovered was that despite Wilde’s uncommon appearance, the accuracies of the expressions, behaviors (Grossman 2012), and ironic wit (Barth 2012) overpowered the difference of realistic appearance. This shows you can open up the acting pool even wider.
These accuracies, an overall character development, and attention to detail were an overall theme throughout several reviews in the category of acting. The Wimberly Theatre commended the actors use of accents and how it contributed to a realistic feeling (Lambert 2012), but using accents can also be a fatal flaw. Both the Studio Theatre at Portland Stage and the Raven Theatre West Stage noted diction problems and lack of consistent accents that took the audience from the world of the play (Lambert 2010; Grumbling 2011). When considering an accent for Gross Indecency, one must remain completely consistent throughout the show to maintain focus where focus should be maintained.
One aspect that resonated very well throughout the reviews was having layered characters especially dealing with double casting (Hubbard 2013). The Cortland Repertory Theatre review noted specifically that Wilde needs to be layered “with rightness and bravery” (Crocker 2009), while a review for the Minneapolis Theatre Garage added a better audience reaction when the audience grasped just how deeply driven Oscar Wilde’s character was played (Olive 2013). In a review for the Raven Theatre West Stage, the author notes the actor playing Wilde glorified himself as a “patron saint for gays”, when in reality Wilde was about the art (Williams T. 2010). One author mentioned the actor playing Wilde avoided typical pit falls such as:
“Johnson avoids the familiar traps: he refuses to rely on Wilde the fey master of the aphorism, to make Wilde the very model of a modern homosexual, to give us Wilde the ineffable wit. Johnson plays these, yes, but they don’t dominate (if they did the performance would grow quickly tiresome).” (Olive 2013)
Another side of Wilde portrayed is passionate and calm - rarely “acting out” (Olive 2013). Making sure the actor portraying Oscar Wilde can delve deep and show layers has generally elicited a better response from audiences.
Of course having developed characters does not stop at Oscar Wilde. The other characters not only have a deep interaction with Wilde but also are double cast as other characters. The ability to seamlessly transition from one character to another has been very well received by audiences. A Minneapolis Theatre Garage review notes this as the most impressive aspect of the show (Hubbard 2013), while another comments on the transition and commitment each actor had for each character. Other characters such as Douglas in another review for Raven Theatre West Stage was praised for not being vilified but showing love or Wilde while also showing some of his flaws (Zarris 2010), and the Daily Camera’s review of Queensbury displayed a nice balance between rage and a sense of calm (Collins 2012) and according to a review for the Wimberly Theatre this shows Queensbury does not act solely with the purpose of malice (Lambert 2012). The idea of having developed characters may come about as a no-brainer, but the ability to show multiple sides to and among characters adds another element to make a potentially one dimensional play sprout outwards.
When thinking about directing Gross Indecency there is a major opportunity to play with the energy level and blocking. Many theaters have had great success with keeping the energy up through body movements and tone. The Wimberly Theatre review makes a comment on the “artfully orchestrated motion” in which the actors move (Lambert 2012), which seems like a nice tie in to the theme of the play. A Minneapolis Theatre Garage review supported this by saying the energetic movements grab the audience attention (Olive 2013) as does utilizing the space (Olive 2013; Grossman 2012). Another Wimberly Theatre review notes how the pace is picked up nicely using this energetic blocking style (Lambert 2012). One particular production at the Raven Theatre West Stage did not captivate the critic. This critic felt alienated because the director did not utilize certain key presentational and/or personal aspects (Zarris 2010). A unanimous account of all reviews sampled show that movement has proven to be a successful strategy when blocking Gross Indecency.
Concept is one category that must be given thought. On one end of the spectrum this play has a higher potential than strict realism, but straying too far can be fatal. Several reviews for Raven Theatre’s West Stage production of Gross Indecency heavily criticized the conceptual structure of the show. One review laid out the concept of the play:
“In director Michael Rashid's inventive, sometimes explicitly homoerotic staging, Kaufman's script is enacted by the denizens of a gay karaoke bar. This meta-theatrical approach highlights Wilde's status as a modern gay icon and martyr.” (Williams A. 2010)
Another review critiqued that these gimmicks did not deepen the play and left the audience with a bad taste in their mouths (Metz 2010). Contradictory to these views was the previous review saying the concept created “a compelling, powerfully acted mix of courtroom drama and passion play” (Williams A. 2010). Creating such a left wing concept has the potential to go horribly wrong according to the reviews, but can also sit well with others and is a risk that must be calculated. Other concepts that are not so far out there have been more critically acclaimed. Something as small as the nudity in the play contrasting to the powerful wigs of justice stood as an effective metaphor, and the timelessness to the show received positive reviews (Reinberg 2013).
Set, including props, seems to have typically been done in a very minimalist sense. I did not find a set example with an extravagant set, so I have no data on the effectiveness it would have. The set has tended to get all positive reviews from critics. The Minneapolis Theatre Garage review comments on the minimalistic use of props, featuring only ones that represent the “opening and closing” (gavels, books, etc) to strengthen their concept (Hubbard 2013). Other theaters such as the Wimberly Theatre has used a minimalistic set, but also utilized audience seating and space to include the audience and make them feel like a jury (Grossman 2012). Grossman also felt the way the actors stayed on stage to change characters and set pieces furthered the transformation between characters for those who were double cast (Grossman 2012). Several other critics have commented on the effectiveness of a minimal set such as the Studio Theatre of Phoenix who used a simple book laden set with a green carnation as a symbolic piece (Grumbling 2011).
Lighting also helped play in to the spectacle and further certain concepts. The luminosity played a major role in at least two productions - one in London that used lighting to create a snapshot view of events for a timelessness effect (de Jongh 1999) and one at the Wimberly Theatre where light was used to cast a glare that Wilde was unable to hide from (Grossman 2012). However lighting is used, it can be an effective way to play with set, characters, and concept, and has proven to be successful in past productions. You must make sure that all of these aspects weave into one another as one reviewer for the Minneapolis Theatre Garage noted that the elements were spectacular on their own, but did not seem to work as a cohesive unit (From The Back Row 2013).
Much of the casting and acting categories intertwine, but for the purposes of this dramaturgical book I will split the two into separate categories. The brief section of casting will touch on demographic of the actors and physical appearances of Oscar Wilde. One particular performance of Gross Indecency at the Cortland Repertory Theatre decided to cast a younger set of actors to portray the characters. For this production Joy Crocker from the Post Standard of Syracuse, New York, noted that age did not matter because “[the actors] snap to the rhythmic pace with precision” (Crocker 2009). This opens up new opportunities to look for acting abilities rather than ability paired with a certain image.
One man from the play that conjures up a certain image of wavy angelic hair is, of course, Oscar Wilde. However, two productions from the selected reviews notably portrayed Wilde as a tall bald man. What the Wimberly Theatre and the Boston Center for the Arts had discovered was that despite Wilde’s uncommon appearance, the accuracies of the expressions, behaviors (Grossman 2012), and ironic wit (Barth 2012) overpowered the difference of realistic appearance. This shows you can open up the acting pool even wider.
These accuracies, an overall character development, and attention to detail were an overall theme throughout several reviews in the category of acting. The Wimberly Theatre commended the actors use of accents and how it contributed to a realistic feeling (Lambert 2012), but using accents can also be a fatal flaw. Both the Studio Theatre at Portland Stage and the Raven Theatre West Stage noted diction problems and lack of consistent accents that took the audience from the world of the play (Lambert 2010; Grumbling 2011). When considering an accent for Gross Indecency, one must remain completely consistent throughout the show to maintain focus where focus should be maintained.
One aspect that resonated very well throughout the reviews was having layered characters especially dealing with double casting (Hubbard 2013). The Cortland Repertory Theatre review noted specifically that Wilde needs to be layered “with rightness and bravery” (Crocker 2009), while a review for the Minneapolis Theatre Garage added a better audience reaction when the audience grasped just how deeply driven Oscar Wilde’s character was played (Olive 2013). In a review for the Raven Theatre West Stage, the author notes the actor playing Wilde glorified himself as a “patron saint for gays”, when in reality Wilde was about the art (Williams T. 2010). One author mentioned the actor playing Wilde avoided typical pit falls such as:
“Johnson avoids the familiar traps: he refuses to rely on Wilde the fey master of the aphorism, to make Wilde the very model of a modern homosexual, to give us Wilde the ineffable wit. Johnson plays these, yes, but they don’t dominate (if they did the performance would grow quickly tiresome).” (Olive 2013)
Another side of Wilde portrayed is passionate and calm - rarely “acting out” (Olive 2013). Making sure the actor portraying Oscar Wilde can delve deep and show layers has generally elicited a better response from audiences.
Of course having developed characters does not stop at Oscar Wilde. The other characters not only have a deep interaction with Wilde but also are double cast as other characters. The ability to seamlessly transition from one character to another has been very well received by audiences. A Minneapolis Theatre Garage review notes this as the most impressive aspect of the show (Hubbard 2013), while another comments on the transition and commitment each actor had for each character. Other characters such as Douglas in another review for Raven Theatre West Stage was praised for not being vilified but showing love or Wilde while also showing some of his flaws (Zarris 2010), and the Daily Camera’s review of Queensbury displayed a nice balance between rage and a sense of calm (Collins 2012) and according to a review for the Wimberly Theatre this shows Queensbury does not act solely with the purpose of malice (Lambert 2012). The idea of having developed characters may come about as a no-brainer, but the ability to show multiple sides to and among characters adds another element to make a potentially one dimensional play sprout outwards.
When thinking about directing Gross Indecency there is a major opportunity to play with the energy level and blocking. Many theaters have had great success with keeping the energy up through body movements and tone. The Wimberly Theatre review makes a comment on the “artfully orchestrated motion” in which the actors move (Lambert 2012), which seems like a nice tie in to the theme of the play. A Minneapolis Theatre Garage review supported this by saying the energetic movements grab the audience attention (Olive 2013) as does utilizing the space (Olive 2013; Grossman 2012). Another Wimberly Theatre review notes how the pace is picked up nicely using this energetic blocking style (Lambert 2012). One particular production at the Raven Theatre West Stage did not captivate the critic. This critic felt alienated because the director did not utilize certain key presentational and/or personal aspects (Zarris 2010). A unanimous account of all reviews sampled show that movement has proven to be a successful strategy when blocking Gross Indecency.
Concept is one category that must be given thought. On one end of the spectrum this play has a higher potential than strict realism, but straying too far can be fatal. Several reviews for Raven Theatre’s West Stage production of Gross Indecency heavily criticized the conceptual structure of the show. One review laid out the concept of the play:
“In director Michael Rashid's inventive, sometimes explicitly homoerotic staging, Kaufman's script is enacted by the denizens of a gay karaoke bar. This meta-theatrical approach highlights Wilde's status as a modern gay icon and martyr.” (Williams A. 2010)
Another review critiqued that these gimmicks did not deepen the play and left the audience with a bad taste in their mouths (Metz 2010). Contradictory to these views was the previous review saying the concept created “a compelling, powerfully acted mix of courtroom drama and passion play” (Williams A. 2010). Creating such a left wing concept has the potential to go horribly wrong according to the reviews, but can also sit well with others and is a risk that must be calculated. Other concepts that are not so far out there have been more critically acclaimed. Something as small as the nudity in the play contrasting to the powerful wigs of justice stood as an effective metaphor, and the timelessness to the show received positive reviews (Reinberg 2013).
Set, including props, seems to have typically been done in a very minimalist sense. I did not find a set example with an extravagant set, so I have no data on the effectiveness it would have. The set has tended to get all positive reviews from critics. The Minneapolis Theatre Garage review comments on the minimalistic use of props, featuring only ones that represent the “opening and closing” (gavels, books, etc) to strengthen their concept (Hubbard 2013). Other theaters such as the Wimberly Theatre has used a minimalistic set, but also utilized audience seating and space to include the audience and make them feel like a jury (Grossman 2012). Grossman also felt the way the actors stayed on stage to change characters and set pieces furthered the transformation between characters for those who were double cast (Grossman 2012). Several other critics have commented on the effectiveness of a minimal set such as the Studio Theatre of Phoenix who used a simple book laden set with a green carnation as a symbolic piece (Grumbling 2011).
Lighting also helped play in to the spectacle and further certain concepts. The luminosity played a major role in at least two productions - one in London that used lighting to create a snapshot view of events for a timelessness effect (de Jongh 1999) and one at the Wimberly Theatre where light was used to cast a glare that Wilde was unable to hide from (Grossman 2012). However lighting is used, it can be an effective way to play with set, characters, and concept, and has proven to be successful in past productions. You must make sure that all of these aspects weave into one another as one reviewer for the Minneapolis Theatre Garage noted that the elements were spectacular on their own, but did not seem to work as a cohesive unit (From The Back Row 2013).
Previous Productions
Click on the pictures before to explore previous productions of Gross Indecency as well get links to production websites and published reviews of these productions. (Links are provided in the captions of each photo.)
While there are many pictures, several are from the same production. Rather than showing pictures from many productions, this selection shows a mix of productions that received positive and negative views and chose to conceptualize the play in a variety of ways. A full collection of reviews can be found under the "Reviews of Gross Indecency" section on the Works Cited / Further Reading page.
The shows appear in chronological order, from earlier production photos to the more recent.
While there are many pictures, several are from the same production. Rather than showing pictures from many productions, this selection shows a mix of productions that received positive and negative views and chose to conceptualize the play in a variety of ways. A full collection of reviews can be found under the "Reviews of Gross Indecency" section on the Works Cited / Further Reading page.
The shows appear in chronological order, from earlier production photos to the more recent.
Media and Other Ads
While their production received several negative reviews, Black Elephant Theatre in Chicago was one of the few companies to produce a video ad that didn't just highlight scenes from the production.
The ad is very visual and graphic but also features an interviewer on the streets asking people if they know who Oscar Wilde is. The effectiveness of the ad may be debatable when viewed in conjunction with the production's reviews, but the idea of interviewing and asking people questions in the present day is another layer that adds to the original themes and documentary style of the play's script. |
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Combined Works Cited and Further Reading (Reviews)
Reviews are arranged in chronological order by production date, from first productions to the most recent.
"Gross Indecency - review" by Nicholas de Jongh
This review is of a March 1999 production of the show in London. The review is largely a negative review that attacks the flamboyancy and Brechtian style of the piece, ultimately finds Kaufman's argument to be articulated poorly.
http://www.standard.co.uk/goingout/theatre/gross-indecency--review-7435275.html
de Jongh, Nicholas. "Gross Indecency - review." London Evening Standard. London Evening Standard, 23 Mar. 1999.
http://www.standard.co.uk/goingout/theatre/gross-indecency--review-7435275.html
de Jongh, Nicholas. "Gross Indecency - review." London Evening Standard. London Evening Standard, 23 Mar. 1999.
"Gross Indecency: The Three Trials of Oscar Wilde - REVIEW" by Venus Zarris
This review is about Black Elephant Theatre's October 2010 production in Chicago. Unlike other reviews, the reviewer fully establishes how scenic and prop elements were used to establish the play's unique choice of being in a karaoke bar. (For instance, the actors had Kindles and sang pop songs during the preshow.) In addition, the reviewer talks about how the show is able to still support the gay themes and other elements of the story without sacrificing them to the production concept.
http://www.chicagostagereview.com/gross-indecency-the-three-trials-of-oscar-wilde-%E2%80%93-review/
Zarris, Venus. "Gross Indecency: The Three Trials of Oscar Wilde - REVIEW." Chicago Stage Review. Chicago Stage Review, 16 Oct. 2010. Web. 23 Apr. 2013.
http://www.chicagostagereview.com/gross-indecency-the-three-trials-of-oscar-wilde-%E2%80%93-review/
Zarris, Venus. "Gross Indecency: The Three Trials of Oscar Wilde - REVIEW." Chicago Stage Review. Chicago Stage Review, 16 Oct. 2010. Web. 23 Apr. 2013.
"Gross Indecency: The Three Trials of Oscar Wilde" by Tom Williams
This is a review for Black Elephant Productions in their October 2010 production. The review discusses the role of art as well as the thematic ways that art is conveyed and utilized in the script.
Williams, Tom. "Chicago Critic." Chicago Critic RSS. 18 Oct. 2010. Web. 23 Apr. 2013.
Williams, Tom. "Chicago Critic." Chicago Critic RSS. 18 Oct. 2010. Web. 23 Apr. 2013.
"'Indecency' in a karaoke bar" by Nina Metz
This review is of an October 2010 Black Elephant Productions in Chicago. The company's choice to set the play within a karaoke bar caused the show to become a comic piece that neglected other elements of the show.
http://articles.chicagotribune.com/2010-10-29/entertainment/ct-ott-1029-on-the-fringe-20101029_1_gross-indecency-three-trials-criminal-trials
Metz, Nina. "'Indecency' in a karaoke bar." Chicago Tribune. Chicago Tribune, 29 Oct. 2010. Web.
http://articles.chicagotribune.com/2010-10-29/entertainment/ct-ott-1029-on-the-fringe-20101029_1_gross-indecency-three-trials-criminal-trials
Metz, Nina. "'Indecency' in a karaoke bar." Chicago Tribune. Chicago Tribune, 29 Oct. 2010. Web.
"Gross Indecency: The Three Trials of Oscar Wilde" by Albert Williams
This review is a review for Black Elephant Productions' October 2010 production in Chicago. This review calls the unique staging and pacing homoerotic at times but praises the production for its inventiveness.
http://www.chicagoreader.com/chicago/gross-indecency-the-three-trials-of-oscar-wilde/Event?oid=2722828
Williams, Albert. "Gross Indecency: The Three Trials of Oscar Wilde." Chicago Reader. Chicago Reader, 14 Nov. 2010. Web. 23 Apr. 2013.
http://www.chicagoreader.com/chicago/gross-indecency-the-three-trials-of-oscar-wilde/Event?oid=2722828
Williams, Albert. "Gross Indecency: The Three Trials of Oscar Wilde." Chicago Reader. Chicago Reader, 14 Nov. 2010. Web. 23 Apr. 2013.
"Review: Dramatic Rep's ambitious Gross Indecency" by Megan Grumbling
This review is for a June 2011 Dramatic Repertory Company production in Portland, Oregon. The review especially notes how tragedy was handled in the production, especially between the characters of Oscar Wilde and Lord Alfred.
http://portland.thephoenix.com/arts/121799-review-dramatic-reps-ambitious-gross-indecency/?page=2#TOPCONTENT
Grumbling, Megan. "Review: Dramatic Rep's ambitious Gross Indecency." The Portland Phoenix. The Portland Phoenix, 10 June 2011. Web. 23 April 2013.
http://portland.thephoenix.com/arts/121799-review-dramatic-reps-ambitious-gross-indecency/?page=2#TOPCONTENT
Grumbling, Megan. "Review: Dramatic Rep's ambitious Gross Indecency." The Portland Phoenix. The Portland Phoenix, 10 June 2011. Web. 23 April 2013.
"Boulder Ensemble Theatre Company's 'Gross Indecency' follows Oscar Wilde's fall." by Mark Collins
This review is a review for Boulder Ensemble Theatre Company's April 2012 production in Boulder, Colorado. The review especially notes the relevancy of the production to today and present issues and comments on the actor's skills in playing their characters, especially Oscar Wilde and Queensberry.
http://www.dailycamera.com/entertainment/ci_20461594/boulder-ensemble-theatre-companys-gross-indecency-follows-oscar
Collins, Mark. "Boulder Ensemble Theatre Company's 'Gross Indecency' follows Oscar Wilde's all." Daily Camera. Daily Camera, 23 Apr. 2012. Web. 23 Apr. 2013.
http://www.dailycamera.com/entertainment/ci_20461594/boulder-ensemble-theatre-companys-gross-indecency-follows-oscar
Collins, Mark. "Boulder Ensemble Theatre Company's 'Gross Indecency' follows Oscar Wilde's all." Daily Camera. Daily Camera, 23 Apr. 2012. Web. 23 Apr. 2013.
"BWW Review: GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE" by Nancy Grossman
This review is for an August 2012 Bad Habit Production show in Boston. The review highlights the dynamics between the all-male casts and provides character focus on figures such as the Marquess and how he can be the perfect villain character.
http://boston.broadwayworld.com/article/BWW-Review-GROSS-INDECENCY-THE-THREE-TRIALS-OF-OSCAR-WILDE-20120814
Grossman, Nancy. "BWW Review: GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE." Broadway World. Broadway World, 14 Aug. 2012.
http://boston.broadwayworld.com/article/BWW-Review-GROSS-INDECENCY-THE-THREE-TRIALS-OF-OSCAR-WILDE-20120814
Grossman, Nancy. "BWW Review: GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE." Broadway World. Broadway World, 14 Aug. 2012.
"Wilde on Trial: Bad Habit's 'Gross Indecency'" by Bryce Lambert
This review is another review for the August 2012 Bad Habit Production show in Boston. The reviewer only has good things about the production remarking that the company has no problem doing British theatre.
http://www.bostonlowbrow.com/2012/08/bad-habit-review-three-trials-oscar-wild/
Lambert, Bryce. "Wilde on Trial: Bad Habit's 'Gross Indecency'." Boston Low Brow. Boston Low Brow, 21 Aug. 2012. Web. 23 Apr. 2013.
http://www.bostonlowbrow.com/2012/08/bad-habit-review-three-trials-oscar-wild/
Lambert, Bryce. "Wilde on Trial: Bad Habit's 'Gross Indecency'." Boston Low Brow. Boston Low Brow, 21 Aug. 2012. Web. 23 Apr. 2013.
"Gross Indecency: The Three Trials of Oscar Wilde traces Wilde's downfall" by Sheila Barth
This review is a review of Bad Habit Productions' August 2012 production. The reviewer especially notes the directors quick time and pacing in keeping the show moving and on its feet. In addition, the reviewer felt that the use of props and set pieces (like a divan) were specific details that made the world feel authentic.
http://www.theatermirror.com/SBgrossBAD.htm
Barth, Sheila. "Gross Indecency: The Three Trials of Oscar Wilde traces Wilde's downfall." Theatre Mirror, 2012. Web. 23 Apr. 2013.
http://www.theatermirror.com/SBgrossBAD.htm
Barth, Sheila. "Gross Indecency: The Three Trials of Oscar Wilde traces Wilde's downfall." Theatre Mirror, 2012. Web. 23 Apr. 2013.
"Gross Indecency: The Three Trials of Oscar Wilde, by Walking Shadow Theatre Company performing at the Theatre Garage" by John Olive
This is an April 2013 review of The Shadow Company's production in Minneapolis, Minnesota. Like other reviews for this production, this review is positive and comments on how having an Oscar Wilde that is understated works well in the production. The reviewer however does cite the script and show itself as being imperfect and does have some personal dislikes about the script.
http://www.howwastheshow.com/2013/04/gross-indecency-the-three-trials-of-oscar-wilde-by-walking-shadow-theatre-company-performing-at-the-theatre-garage/
Olive, John. "Gross Indecency: The Three Trials of Oscar Wilde, by Walking Shadow Theatre Company performing at the Theatre Garage." How Was The Show? , 13, Apr. 2013. Wed. 23 Apr. 2013.
http://www.howwastheshow.com/2013/04/gross-indecency-the-three-trials-of-oscar-wilde-by-walking-shadow-theatre-company-performing-at-the-theatre-garage/
Olive, John. "Gross Indecency: The Three Trials of Oscar Wilde, by Walking Shadow Theatre Company performing at the Theatre Garage." How Was The Show? , 13, Apr. 2013. Wed. 23 Apr. 2013.
"Gross Indecency: The Three Trials of Oscar Wilde" by Yonatan Reinberg
This review is an April 2013 review of The Shadow Company's production in Minneapolis, Minnesota. The review notes how the actor playing Oscar Wilde acts not as the protagonist but as an after effect of the trials. The review also goes into detail about how props are central to telling and changing time within the production.
http://aislesaytwincities.com/2013/04/13/gross-indecency-the-three-trials-of-oscar-wilde/
Reinberg, Yonatan. "Gross Indecency: The Three Trials of Oscar Wilde." Aisle Say Twin Cities. Aisle Say Twin Cities, 13 Apr. 2013. Web. 23 Apr. 2013.
http://aislesaytwincities.com/2013/04/13/gross-indecency-the-three-trials-of-oscar-wilde/
Reinberg, Yonatan. "Gross Indecency: The Three Trials of Oscar Wilde." Aisle Say Twin Cities. Aisle Say Twin Cities, 13 Apr. 2013. Web. 23 Apr. 2013.
"GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE - WALKING SHADOW THEATRE COMPANY - APRIL 12TH, 2013"
This review is an April 2013 review of The Shadow Company's production in Minneapolis, Minnesota. This review like other reviews notes the intrusiveness of the script in telling the story. Also, though the reviewer notes that everything in the production was fantastic, the show lacked cohesiveness. This review is also interesting because the reviewer has no past experience viewing or reading anything relating to Oscar Wilde.
http://backrowtc.wordpress.com/2013/04/14/walking-shadow-theatre-company-gross-indecency-the-three-trials-of-oscar-wilde-february-12th-2013/
"GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE - WALKING SHADOW THEATRE COMPANY - APRIL 12TH, 2013." From The Back Row. Twin Cities Theatre Reviews, 14 Apr. 2013. Web. 23 Apr. 2013.
http://backrowtc.wordpress.com/2013/04/14/walking-shadow-theatre-company-gross-indecency-the-three-trials-of-oscar-wilde-february-12th-2013/
"GROSS INDECENCY: THE THREE TRIALS OF OSCAR WILDE - WALKING SHADOW THEATRE COMPANY - APRIL 12TH, 2013." From The Back Row. Twin Cities Theatre Reviews, 14 Apr. 2013. Web. 23 Apr. 2013.
"'Gross Indecency' review: Oscar Wilde's story told with flair" by Rob Hubbard
This review is an April 2013 review of The Shadow Company's production in Minneapolis, Minnesota. Unlike other reviews for this production, the viewer notes the director's special attention to making dramatic flairs within the movement and action of the show. Like other reviews, this review also criticizes the length of the show and how it's built, going as far to suggest that the script be cut shorter.
http://www.twincities.com/stage/ci_23020009/gross-indecency-review-oscar-wildes-story-told-flair
Hubbard, Rob. "'Gross Indecency' review: Oscar Wilde's story told with flair." Twin Cities. Pioneer Press, 18 Apr. 2013. Web. 23 Apr. 2013.
http://www.twincities.com/stage/ci_23020009/gross-indecency-review-oscar-wildes-story-told-flair
Hubbard, Rob. "'Gross Indecency' review: Oscar Wilde's story told with flair." Twin Cities. Pioneer Press, 18 Apr. 2013. Web. 23 Apr. 2013.
Information Collected and Organized By:
Bradley Wilkinson
Bradley Wilkinson