AN IDEAL HUSBAND
AN IDEAL HUSBAND by Oscar Wilde, directed by Jonathan Moscone; Cal Shakes (California Shakespeare Theater),
510-548-9666 or www.calshakes.org. All plays at the Bruns Amphitheater,
July2 –
A VISUAL, VERBAL WILDE/MOSCONE TREAT
The gods kept away the usual cold, damp fog from the Bruns Amphitheater providing a balmy night to enjoy a wild verbal and visual treat of Jonathon Moscone’s masterful production of Oscar Wilde’s “An Ideal Husband” . Director Moscone has put together a splendid cast, garbed in stunning costumes (Meg Neville) on an elegant set (Annie Smart) that includes a huge tapestry scrim of Boucher’s Triumph of Love, creating a memorable evening (with minor flaws), stimulating animated conversation as the audience departed for the evening.
Moscone’s directorial conceits of mixing farce, drawing room comedy with verbal pyrotechnics and physical humor are once again on display. Wilde has written delicious lines for every one of his major characters and Moscone, to gain emphasis, allows his actors occasionally to address the audience directly. Written in 1895, the play carries political truisms that are as cogent today, and possibly more so with the political scandals making recent headlines. Wilde considers
Wilde asks the questions of what responsibility should a person take for past transgressions and in marriage, can there be an “ideal husband.” The last question is rhetorical but the other is the basis for conflict. Early in act II Sir Robert Chiltern (Michael Butler) asks “. . . do you think that what I did nearly eighteen years ago should be brought against me now?” Wilde’s answer, "No one should be entirely judged by their past." What he did was tantamount to insider trading by giving secret government information about the
The play opens during a dinner party at the fashionable home of Sir Robert and Gertrude Chiltern (beautiful Julie Eccles). Enter the devious Mrs. Cheveley (a star performance by Stacy Ross) threatening to blackmail Sir Robert into supporting, in the House of Commons, a fraudulent
Mrs. Cheveley has an incriminating letter to prove the dirty deed that could ruin Sir Robert’s career and marriage. He capitulates leading to a confrontation with his wife who predicated their marriage on Robert being the ideal husband. The first act ends with Gertrude collapsing to the floor.
There is a secondary plot involving a bracelet found by Lord Goring that figures prominently in resolving the entanglement and a second letter adding further complications. Then there is unexpected visit by Mrs. Cheveley to Lord Goring’s flat, unbeknownst to him is sequestered in the drawing room, and she hears the private conversation between Sir Robert and Lord Goring.
Moscone starts the play as a farce with Mrs. Marchmont (Delia MacDougall) and Lady Basildon (Nancy Carlin) spouting classic Wilde: “I hate being educated. . .it puts one on the level with the commercial classes. . .” A bit later, the pair excessively fawns over Lord Goring that seems like a flagrant attempt to elicit laughs. Audience favorite Danny Scheie compliments the farcical element with over-the-top depiction of Vicomte De Nanjac, looking a lot like Charlie Chaplin. The tempo moves back into drawing room comedy mode and before intermission Sir Robert and Gertrude engage in a shouting match that is not classic Wilde.
Michael Butler turns in a very complimentary performance to match the charm of Julie Eccles. Joan Mankin, as the elderly Lady Markby, is perfect for an Oscar Wilde play and one can picture her as Lady Bracknell. Wilde describes Mabel as “apple-blossom prettiness. . . . freedom of a flower . . . with tyranny of youth.” Sarah Nealis is all that. Scene stealing Danny Scheie extracts every bit of humor with his second turn on stage as Phipps, Lord Goring’s butler, with his expressive facial movements and distinctive walk. Elijah Alexander, in the pivotal role of Lord Goring seems miscast. Finally, Stacy Ross’s elegant stature, sure delivery and command of the stage are worth the price of admission.
Running time about 2 hours and 25 minutes with intermission.
Kedar K. Adour, MD
Courtesy of TheatreWorld Internet Magazine.