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Now at Boston Court Pasadena, Hare’s play looks instead at Wilde and the man whose relationship with him caused his downfall: Lord Alfred Douglas, son of the Marquis of Queensbury, commonly called “Bosie.” The petulant and self-absorbed Bosie’s hold over the older Wilde, pushing him (among other things) to try to sue the Marquis for libel and thus to open himself to prosecution for homosexuality, becomes a framework with which to study how relationships can turn manipulative and eventually destructive to the person manipulated.
There seems ample evidence for Bosie’s petulance and opportunism. Most certainly, the destructive effect on Wilde’s life and fortunes is undeniable. What Hare’s play does, however, is look at how this manipulation worked. Bosie pushes Wilde one way, Wilde’s friend and former lover (and eventual executor of his literary estate) Robert Ross tries to reason him into another, and Wilde makes disastrous decisions in the name of love.
Rob Nagle gives Wilde the right combination of flamboyance and deep insecurity, ready to lean on a young man who never has an interest at heart except his own. Even with the elaborate language and gesture, this is a romantic caught in that time-old trap of allowing blind love to push him away from those who actually have his best interests at heart. As Bosie, Colin Bates radiates immaturity, self-obsession, and obliviousness as he drags Wilde to shame and bankruptcy.
Darius De La Cruz makes a worried, earnest and frustrated friend as Robert Ross, giving a gravitas to the disaster his character is trying to help his former lover avoid. Matthew Campbell Dowling, Maria Klein and Kurt Kanazawa provide a backdrop of lasciviousness which was the secret underpinning of Victorian society, as does Will Dixon as the hotel manager busy keeping his clients’ secrets.
Director Michael Michetti has kept the production spare, allowing the larger-than-life Wilde a central place, seeming increasingly pure and victimized as all around him exude a sensuality he seems to have eschewed for what he sees as a more spiritual connection. That contrast alone says a great deal about what set him up for disaster.
Se Hyun Oh’s set hints at both opulence and penury consecutively, and Dianne K. Graebner’s costumes give color to these colorful lives. Still, the net result is a fine writer’s ruin. To see in that antique echoes writ large of modern romantic disasters is a point of the play all its own.
The play includes nudity and sexual situations, and is recommended for children and adults 17 years old and up. Children under 13 will not be admitted.
What: “The Judas Kiss” When: through March 24, 8 p.m. Thursdays, Fridays and Saturdays, 2 p.m. Sundays, with an added performance at 8 p.m. Monday, March 18. Where: Boston Court Pasadena, 70 N. Mentor Ave. in Pasadena. How Much: $39 adult, $34 senior, $20 student Info: http://www.bostoncourtpasadena.org or 626-683-6801
What may be less well known is the odd combination of license and Victorianism with which it is invested, or the more homoerotic tone of the original story Wilde himself had to tone down considerably when the work went from its magazine debut to the permanence of book form. Now Michael Michetti’s adaptation of “Dorian” has been revived and is once again directed by its adaptor at A Noise Within in Pasadena, 12 years after its wildly popular premiere at The Theatre at Boston Court (now Boston Court Pasadena), where Michetti is co-Artistic Director.
Although I often object strenuously to any sense of being wedded to the first presentation of a particular play, here there is a need to make some comparisons. Not only is the adaptation by the same person, but the director is the same. What have time and a difference of venue meant to this work?. In a play taken virtually word for word from Wilde, perhaps the most obvious, but in some ways the most unfair disadvantage of this production is its Dorian.
Wilde’s Dorian is a young man who radiates almost hypnotically attractive youth and innocence. He shines as a beacon of both to such an extent that the more jaundiced men with whom he comes into contact praise that beauty and youthfulness as both the greatest advantage he has, and the most fleeting. Thus begins the tale.
In Michetti’s first production, actor Steve Coombs’ Dorian was just that – a young man of Byronic beauty with a physique like Michelangelo’s David. At ANW, Colin Bates has an edgier, tougher, stringier aspect, making all the comments about his radiant innocence and Hellenic perfection ring somewhat hollow, not because he is not a fine actor (he definitely is) but because the tale centers so much on the dichotomy between Dorian’s riveting physical image and the increasingly twisted soul beneath.
On the other hand, the theme of a man who seems universally attractive while operating with a complete lack of conscience seems almost prescient, given the news cycle of the last couple of weeks. And so the play itself has more to offer now than perhaps it did before.
Standing out in a strong cast is Amin El Gamal, as the shyly adoring painter Basil. He manages the delicate balance of adoration, gentleness and pent-up emotion necessary to balance the wry, bitter quality of Frederick Stuart’s Lord Henry, the man most responsible for leading Dorian astray. Stuart’s delivery almost always offers hints of snide fatalism, and here that proves just the right irritant.
Beyond these three, Chelsea Kurtz makes fine work of the young actress Dorian’s adoration destroys, Jose Angel Donado exudes contained fury as her vengeful brother, and Daniel Lench sets a standard as Lord Henry’s uncle. Beyond these, a talented ensemble handles the many other characters who float in and out of Dorian’s world as his debauchery increases.
Michetti and James Maloof have designed a set which allows for quick scene changes and an interesting balance between reality and the weirdly dreamlike quality of Wilde’s storytelling. There is a strong sense of pacing and focus, and the choreography of John Pennington helps define the destruction of Dorian’s character with a fluidity which moves the story forward.
Yet, it is hard to buy into this Dorian, and thus into that aforementioned great dichotomy of Wilde’s story: the very Victorian concept of visible sin – of how an evil soul will wrench one’s physical self – and the portrait which twists so the man himself can remain unblemishedly beautiful.
Be aware that this adaptation borrows from both versions of Wilde’s original story, and thus emphasizes far more than the more easily acquired print edition the homoeroticism which underscored Wilde’s own life. There is also stylistically important full frontal male nudity. To paraphrase a favorite university theater director, if either of these will offend you, then you will be offended.
This play will be performed in repertory with “Rosencrantz and Guildenstern Are Dead”.
What: “A Picture of Dorian Gray” When: through November 16, 8 p.m. October 19, 20, November 2, 3, and 16; 7 p.m. October 28, November 11; 7:30 p.m. November 15; 2 p.m. October 20, 28, November 2, 3, and 11 Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena How Much: from $25, student rush with ID an hour before performance $20 Info: 626-356-3121 or http://www.anoisewithin.org