I will say right away that I was deeply moved by Soulpepper Theatre’s De Profundis: Oscar Wilde in Jail.
As a longtime student of Wilde’s writing, I was curious to experience how his anguished letter – which is entirely distinct in tone and tenor from his witty plays, novel, essays and even fairy tales – would translate into a theatrical work, especially one with music. And I was especially intrigued because this is the second original musical collaboration directed by Gregory Prest, with music by Mike Ross and lyrics by Sarah Wilson – following their four time Dora Award winning Rose: A New Musical (2019), which I adored.
De Profundis: Oscar Wilde in Jail emerges as a profound, provocative exploration of love, art, and resilience, and a must-see for anyone captivated by Wilde’s wit, wisdom, and enduring relevance. Prest has adapted it from Wilde’s poignant and deeply personal letter to his lover Lord Alfred “Bosie” Douglas, which he was permitted to write from his cell in Reading Gaol in 1897 “for medicinal purposes”. Over a three-month period, he crafted – one page per day – this masterpiece of love, regret, and introspection. Upon his release from prison, the work was compiled and returned to him, and he entrusted it to his friend, journalist Robert “Robbie” Ross. Titled “De Profundis” by Ross and published posthumously, it stands to this day as one of the most famous letters ever written.
De Profundis: Oscar Wilde in Jail weaves together an ambitious tapestry of Wilde’s letters, trial testimonies, songs, and epigrams. The result is an unexpected and unforgettable theatrical experience that brings to life Wilde’s two years of incarceration for “gross indecency,” during which he was barred from direct communication with the lover who betrayed him. This new musical fantasy transforms Wilde’s eloquent expression of his harrowing experience into a vivid, emotional journey. The production plumbs the complexities of Wilde’s feelings for Douglas, weaving together themes of love, betrayal, and the quest for redemption.
Ultimately, De Profundis is not just an account of Wilde’s imprisonment and the betrayal that precipitated it: it is an exploration of the power of love and art to transcend even the direst of circumstances. Through its innovative use of dialogue, music and dance (which risks confusion . . . but avoids it), the show captures the essence of Wilde’s genius and his enduring legacy. And as you might expect of a work about the larger-than-life Wilde, there is great depth, deep humour . . . and a liberal breaking of the fourth wall.
The production’s interplay between music and narrative, along with its simple yet innovative staging and design (including an evocative set and lighting design by Lorenzo Savioni) vividly dramatize Wilde’s inner turmoil and genius. Wilde’s stark, claustrophobic prison cell juxtaposes the beauty of his ideas with the harshness of his sterile surroundings and the grievousness of his downfall – which led to illness, poverty, and humiliation, and would hasten his death. And at key moments, Frank Donato’s haunting projections depict the counsel, judge and jeering crowds from Wilde’s trial.
The show’s structure leans into the emotional and linguistic overflow from Wilde’s unmailed letter to Bosie, while the arresting contemporary musical styles and staging techniques underscore the timeless relevance of his experiences and insights. The use of dance and movement (choreographed by Indrit Kasapi) – especially for the character of the imagined Bosie – enhances Wilde’s interior life and highlights the fantasy aspect of the show.
The performances are uniformly strong. Colton Curtis, who is a beautiful dancer, is aptly cast as Bosie, the self-centred, narcissistic “beautiful boy” who so consumed and then devastated Wilde. Jonathan Corkal-Astorga plays Wilde’s former lover and trusted friend Ross, while doing double duty as the Associate Musical Director and provider of live musical accompaniment for De Profundis: Oscar Wilde in Jail. In his program note, Prest shares that when he set out to create this work with Ross and Wilson, they agreed that Damien Atkins was the only person who could possibly play Wilde. And right they were. This is undeniably Atkins’ show: he is its beating heart, its soaring and despairing soul, and its always working muscle and sinew, bringing to his portrayal almost shocking intensity, humanity and emotional depth.
Wilde wrote De Profundis out of his sorrow at not receiving any communication from Bosie, who had wrought his ruin, so this letter runs the gamut from rage to reflection. Atkins embodies Wilde in all of his contradictions – utterly and completely. His rendition of an Irish ballad – which turns into a biting litany of systemic injustices – is particularly affecting. And he makes “I blame myself” a haunting refrain that brings to mind unanswerable questions about Wilde’s decisions – foremost among them why he refused to leave England for France to avoid prosecution (as many gay men of the time would). Bottom line: whether you are a devotee of Wilde or just a lover of theatre, Atkins’ bravura performance is more than enough to justify a trip to Soulpepper.
De Profundis: Oscar Wilde in Jail is both a fitting testament to Wilde’s literary legacy and a creative masterpiece in its own right. It embraces the essence of Wilde’s letter while expanding and magnifying its narrative and emotional scope through its theatrical and musical form. De Profundis: Oscar Wilde in Jail is a compelling stage experience that speaks to the enduring power of love, art, and the human spirit in the face of adversity. The response has been so strong that the run has been extended to February 23, 2024. I recommend it highly.
© Arpita Ghosal, SesayArts Magazine, 2024
