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STAGE WEST
October
16, 1997
Wilde
In, Wilde Out
Bentley's
"Lover" Dramatizes Parallel Paths
by
Rob Kendt
The
title is a bit off, Eric Bentley admitted in a recent interview about Lord
Alfred's Lover, his play about the final days of Oscar Wilde and his bete noire,
Lord Alfred "Bosie" Douglas, which has its Los Angeles premiere this
week in a staged reading by the Purple Circuit in commemoration of what would
be Wilde's 143st birthday (Oct. 16).
"It's
an irony," said Bentley, 81, who in addition to penning his own plays (Round
2, Are
You Now or Have You Ever Been?) gained a name as the premier translator of
Brecht into English. "Wilde is known as Lord Alfred's lover, but I think
if they were ever lovers, it was for a very brief time, if at all. Alfred
certainly had a big crush on Wilde, and Wilde liked to be seen running around
with a good-looking young lord. But I think that was all there was to it."
Douglas
gets the historical distinction, though, because it was the indignation of his
father, the Marquess of Queensberry, at his son's association with Wilde that
led to the notorious 1895 trial which ended up with Wilde in jail for
"gross indecency," an ambiguous rubric for the very specific crime of
homosexual sodomy (which also provides the title for Moises Kaufman's currently
running Off-Broadway hit, based on trial records).
But,
as Bentley's play dramatizes, there was much more to the story than the trial.
The events that followed, and the arc they completed in both Wilde's and
Douglas' lives, are the subject of Lord Alfred's Lover--and the locus of its
relevance for today's in-and/or-out gay people.
"In
jail, Wilde denounced homosexuality and his former life--like Galileo in jail
denying that the earth goes 'round the sun," said Bentley. "He was in
such a hysterical state, I suppose he thought he meant it. He may have
temporarily forced himself into believing that."
When
he got out of jail, though, Bentley said, "For the first time he told
himself that he was gay, and went through what we would call coming out."
Bentley bases this judgment on letters Wilde wrote near the end of his life,
when he was living in a shabby Paris hotel. Before that awakening, as Bentley
pointed out, Wilde was accused by Queensberry mainly of "posing" as a
sodomite--and in any case the pre-trial Wilde was all about role-playing and
artifice, so who knew?
Douglas
was another piece of work: A conscious, declared homosexual in his Oxford days,
and in many respects the one who initiated Wilde into what there was of a Victorian
gay subculture, Douglas recanted after Wilde's trial, married and became a
Catholic, and even hired ghost-writers to pen books excoriating his former
associate and friend.
"What
I try to present in the play is two men, Lord Alfred and Wilde, whose lives are
parallel in some ways," said Bentley. "Wilde was a gay man who
finally recognized it at the end, whereas Alfred knew from the start, but was a
hypocrite and tried to disavow it."
It's
easy to see how these two diverging paths are still with us. The closets may be
emptying out, but we've learned that openness that doesn't necessarily
uncomplicate sexuality. For an illustration, check out A Noise Within's
exquisite new production of Noel Coward's Design for Living. And, obviously, check
out Lord Alfred's Lover, presented in a staged reading by the Purple Circuit at the
First Stage in Hollywood, Oct. 16-18, with proceeds to benefit the Theatre
Collection of ONE Institute/Gay and Lesbian Archives. For info, call (213)
666-0693.
Wilde's
birthday, incidentally, is also being celebrated by the London premiere of Wilde, a promising new biopic
starring Stephen Fry, Jude Law, Vanessa Redgrave, and Jennifer Ehle, which has
yet to pick up an American distributor.