The Canterville Ghost

The Canterville Ghost is a short story by Oscar Wilde which made its first appearance in America in The New-York Tribune on Sunday, March 27, 1887. [1]

Unfortunately, I was too young to read the original.

However, and to my shame, neither did I catch the 1944 film starring Charles Laughton, the 1962 BBC television drama featuring Bernard Cribbins, the 1966 ABC television musical with Douglas Fairbanks, Jr. and Michael Redgrave, the 1970 Soviet cartoon, the 1974 CBS radio drama, the 1975 made-for-TV film with David Niven, the 1985 film starring no one you’ve ever heard of, the 1986 film with John Gielgud, the 1988 animated television special, the 1992 BBC radio 4 adaptation, the 1996 film with Patrick Stewart, the 1997 TV film starring Ian Richardson, the 2001 Australian film, the 2007 BBC Radio 7 reading by Alistair McGowan, the 2008 Bollywood adaptation, the 2010 graphic novel, the 2011 audiobook narrated by Rupert Degas, the 2016 French-Belgian film, and nor, indeed, the 2017 animated feature film with the voices of Stephen Fry and Hugh Laurie, for which I can be forgiven as it hasn’t been released yet.

That’s a lot of versions, and, before you wonder why has it not been made into an opera, I can tell you it has, and it will debut in New York at the Center For Contemporary Opera as one of a Scare Pair on October 19.

And no, I won’t be able to see that either.

So I determined I should make the effort to experience the darned thing somewhere if I could, even if this meant a community theatre production two-and-a-half hours drive away.

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The State of the Sunflowers

strike-me-sunflowerOscar Wilde’s Reception in Kansas and the Sunflower Soirée.

I recently gave a talk on the subject of Oscar Wilde and the sunflower to the good people of the Maryland Agriculture Resource Council at their Sunflower Soirée, a yearly festival devoted to the Helianthus annuus. Literally, an annual event.

Between you and me, it was a wonderful occasion; but as there was a gloomy weather forecast I choose to focus on the portent to a poignant moment.

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Time: The Present

I live in terror of not being misunderstood

If Oscar Wilde really did live in terror of not being misunderstood—as he wrote in The Critic as Artist in 1891—then he need not have worried, at least not so far as his plays are concerned. That is because parts of the original texts are now so arcane that they are almost bound to be misunderstood, if they are understood at all.

Take Wilde’s most famous play The Importance of Being Earnest, which many say, quite rightly, is still relevant. Of course, it is, in everything from human shallowness to the fact that sugar is no longer fashionable.

But we should not allow the richness of the text to conceal the many dated references and topical allusions in it, which had a contemporary, often esoteric, relevance at the time Wilde wrote them, but which are now elusive—especially for young or non-British audiences.

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The Pictures of Dorian Gray

In the East Village of New York City there is a bar called Dorian Gray and this week I made my inaugural visit. It styles itself as Simple, Cheery, and Charming—which it is, and that will have to suffice as a review as I was only there long enough for one beer. And therein lies a tale.

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Purple Prose

New Book : Beautiful and Impossible Things: Selected Essays of Oscar Wilde 

Notting Hill Editions, UK (2015) | New York Review Books, US (2017)


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“…and over our heads will float the Blue Bird singing of beautiful and impossible things, of things that are lovely and that never happen, of things that are not and that should be.”

So said Oscar Wilde in The Decay of Lying, one of the works included in Beautiful and Impossible Things, a new collection of essays plus the odd letter and lecture by Wilde, due for its U.S. release later this year.

Gyles Brandreth, the English writer, broadcaster, actor, and former Member of Parliament, has provided a solid Introduction to the book. Mr. Brandreth continues to bolster Wilde’s popularity in the U.K. and beyond, by efforts such as this, his being Honorary President of the Oscar Wilde Society in London, and not least by his successful Oscar Wilde Murder Mysteries series of novels.

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Earnest in Town

Oscar Wilde’s The Importance of Being Earnest at the Walnut Street Theatre, Philadelphia

With its marble columns and lobby posters of productions past, the Walnut Street Theatre is a venerable venue; and what other theatre can claim that Jefferson and Lafayette attending its opening night performance? [1]

Moreover, within the Walnut’s neo-classic Federal shell there is often the kernel of fine scenic design, tasteful costumes, and knowledgeable subscribers. One wonders, then, why a sledgehammer is usually employed to crack it?

Such had been the case on my recent visits to witness the repertory’s assaults on Agatha Christie and Noel Coward. So it was more with a sense of duty and dread, than enthusiasm, that my band of Philadelphia Wildeans revisited the scene of those crimes to see The Importance of Being Earnest. Would the Wilde play be similarly executed?

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Moral Equivalence

elephants

If I am to find Wildean relevance in topical US culture, there is a latter-day Nellie the Elephant in the room. And before proceeding, I should explain that twisted metaphor for the uninitiated.

I refer to the UK children’s novelty song of that name, and in particular to the eponymous pachyderm who was celebrated in the oft-repeated chorus for going off with a trumpety-trump, trump, trump, TRUMP! Apparently, it’s a sound elephants make.

And like any other annoying refrain stuck in one’s head, it’s a word currently hard to ignore. So reluctantly I must  face it—the capitalized version that is—before we send in the clowns and say goodbye to the circus that is becoming politics in America.

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