How very exciting for The Australian Ballet to be presenting the world premiere of a new full-length ballet … and it is spectacular. Oscar is based on the life and writings of acclaimed Irish poet, playwright and satirist Oscar Wilde (16thOctober, 1854 – 30th November, 1990). The work of Tony Award-winning choreographer Christopher Wheeldon (known for An American in Paris and MJ The Musical), it is whimsical and dramatic.
Much of the drama is also in the evocative score by composer Joby Talbot (Wonka, Alice’s Adventures in Wonderland), which develops into a devastating second act. Oscar is visually striking with flowing arches (a la a grand ballroom) being a mainstay, around which a courtroom, jail cell and garden setting prevail. The set and costume design are by Jean-Marc Puissant.
What is so clever about this ballet is that it integrates two of Wilde’s best-known works into it while capturing the essence of what made him such a great writer. I speak of someone who dared to live and create with unapologetic boldness. Oscar pays heed to The Nightingale and the Rose and The Picture of Dorian Gray. A mistake I made is that I stuck with my usual practice of not reading anything about a show I review (be it a ballet, opera, musical or play) before seeing a production. In this case, had I done so I would have appreciated the nuances all the more, so I suggest you do what I didn’t.
There is so much to Oscar, which has both narrative and vocal elements … that are uncommon in ballet. With magnificent timbre in his voice, narrator Sean O’Shea gives us context at the beginning, at the start of Act II and by way of epilogue. I thought that worked brilliantly. Although Oscar celebrates the beauty and complexity of love, it is essentially a dark piece, which deals with intolerance. Oscar Wilde was jailed for two years for homosexuality, which at the time was a criminalised act.
In Act I, he is haunted by memories of all he has lost. He sits in his jail cell with only the figure of his conscience for company. He reflects upon his loving family, his stardom, his adoration of famous actresses and his relationship with British journalist, art critic and art dealer Robbie Ross. Prison changed and demoralised Wilde. His body and mind were depleted. He was isolated and malnourished, and subjected to hard labour. A fall left him with debilitating tinnitus in one ear.
Act II deals with his tempestuous relationship with English poet and journalist Lord Alfred Douglas (known as Bosie) and Bosie’s vengeful father, Lord Queensbury. On opening night, Callum Linnane was electrifying as the loving and tortured soul that he depicts. There was a warmth and lightness about Sharni Spencer as Constance Wilde. Joseph Caley channelled affection as Robbie Ross and Benjamin Garrett passion as Bosie. Menace was the takeaway from Steven Heathcote AM’s representation of Lord Queensbury. I was struck by the beauty and splendour that Ako Kondo brought to her representation of the Nightingale.
Among the many highlights of the ballet was the revelry introduced by showstoppers Cameron Holmes and Marcus Morelli. They were brilliant as drag performers Zella and Harri and received a rousing reception. Complete with outstanding performances from the other artists from The Australian Ballet, Oscar generated a visceral response in detailing the complexities of Wilde’s life.
A stroke of genius was to position Orchestra Victoria immediately in front of the stage and thereby give it the due recognition it so richly deserves. It is worth noting that Oscar promises to be just the start of more diverse and inclusive storytelling from The Australian Ballet and it is something mighty special.
Finally, a quick word about the venue – the magnificent Regent Theatre. It will be the Melbourne home of The Australian Ballet for the three years that the State Theatre is being renovated. It could not have chosen any better. Like this production, it is lavish and regal. With a running time of 2 hours and 8 minutes (including a 25-minute interval), Oscar is on at the Regent until 24th September. It will be performed in the Joan Sutherland Theatre at Sydney Opera House from 8th to 23rd November, 2024.
Alex First
Other reviews you might enjoy:
- Alice’s Adventures in Wonderland (The Australian Ballet) – ballet review
- Romeo and Juliet (The Australian Ballet) – ballet review
- Identity (The Australian Ballet) – ballet and dance review
Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
