Baby it’s a Wilde world

For Hart House Theatre, 2007-2008 was characterized by humour, mythology, and the occasional murder. Stephen and Mr. Wilde provides a fitting conclusion by combining all these elements into one sprawling tale.

Based on Oscar Wilde’s night in Toronto on his 1882 North American lecture tour, the plot is driven by the two title characters: Wilde (Jonathan Schuster), and his African- American valet, Stephen Davenport (Drew Ngomba). Their relationship is profoundly tested when Torontonian journalist Edward Hawthorne (Thomas Gough) uncovers evidence of Stephen’s potentially shady past.

At first, the interaction betweeen Schuster and Ngomba makes it seem as if they are occupying completely different stages. Schuster’s Wilde starts out flamboyant and overacted, calling to mind a cross between Boy George and Carrot Top. By contrast, the rest of the characters seemingly fade into the background.

However, this grows riveting when Ngomba subtly and expertly begins to reveal the workings of his character’s mind. The chemistry between Schuster and Ngomba quickly comes to drive the show, with the actors playing off one another brilliantly. As Stephen and Mr. Wilde debate passionately on topics ranging from revolutionary politics to alcohol, the rest of the plot feels unnecessary.

Without question, Act I is the play’s strong suit, delivering an enjoyable mix of witty banter and controversial opinion. Wilde’s sexuality becomes an obvious target for wisecracking, as race relations are explored with an almost “too soon” quality. For example, in a bordello scene, matronly prostitute Louise (Roxann Lee) informs former slave Stephen, “I would never abuse a black man…unless he wanted me to!”

The second half of Stephen and Mr. Wilde falters though, growing too morose with its contemplation of truth and violence. Although ample opportunities are provided for conflict and dramatic tension, the suspense never hits a boiling point. The silence of the show’s most charged encounters seems to fill space, rather than engage the audience. And the ending, which could have descended into turmoil, finishes the story on an overly sappy note.

A dialogue in which Wilde chastises the evil spirit of fact-obsessed Hawthorne has the scribe declaring, “Truth comes from the human spirit, which is why you’re not familiar with it!” Indeed, the truth of Stephen and Mr. Wilde delves exclusively from the human interactions and the well-developed characters— not from an overdone, cumbersome plot development. And how often can a sitting room conversation prove to be more exciting than an alleged assassination?