Tuesday, May 26, 2020

120. DEAR OSCAR. From my (unpublished) ENCYCLOPEDIA OF THE NEW YORK STAGE, 1970-1975


Richard Kneeland, Gretchen Walther, Tinker Gillespie, Len Gochman, Sylvia O'Brien.
"In Lieu of Reviews"

Reviews of live theatre being impossible during these days of the pandemic, THEATRE'S LEITER SIDE is pleased to provide instead accounts of previous theatre seasons--encompassing the years 1970-1975-for theatre-hungry readers. If you'd like to know the background on how this previously unpublished series came to be and what its relationship is to my three The Encyclopedia of the New York Stage volumes (covering every New York play, musical, revue, and revival between 1920 and 1950), please check the prefaces to any of the entries beginning with the letter “A.” See the list at the end of the current entry.

DEAR OSCAR [Musical/Biographical/Family/Homosexuality/Literature/Marriage/Period] B/LY: Caryl Gabrielle Young; M: Addy C. Fieger; D: John Allen; S: William Pitkin; C: May McKinley; L: David F. Segal; P: Mary W. John; T: Playhouse Theatre (OB): 11/16/72-11/19/72 (5)

A biographical musical about Oscar Wilde (Richard Kneeland), a person often dramatized but inadequately so in this production. Crammed with familiar Wildean bon mots, too whittled down and fragmentary to make digestible as a life story, enveloped in uninteresting music, and unimaginatively staged, Dear Oscar’s positive virtues were too meager to incite enthusiasm. “[I]t is rather dull,” yawned Douglas Watt.

Wilde’s life from 1883 to shortly before he died in France was sketched in brief scenes depicting his marriage, his children, and the scandalous love affair he shared with Lord Alfred Douglas (Russ Thacker) that caused him to be imprisoned, his career ruined, and his health destroyed. The treatment had some interest, but “succeeded in making Wilde the prince of bores,” claimed Brendan Gill.

Previous Entries:

Abelard and Heloise
Absurd Person Singular
“Acrobats” and “Line”
The Advertisement/
All My Sons
All Over
All Over Town
All the Girls Came Out to Play
Alpha Beta
L’Amante Anglais         
American Gothics
And Miss Reardon Drinks a Little       
And They Put Handcuffs on the Flowers
And Whose Little Boy Are You?
Anna K.
Anne of Green Gables
Any Resemblance to Persons Living or Dead
As You Like It
The Au Pair Man

Baba Goya [Nourish the Beast]
The Ballad of Johnny Pot
Barbary Shore
The Bar that Never Closes
The Basic Training of Pavlo Hummel
The Beauty Part
The Beggar’s Opera
Behold! Cometh the Vanderkellens
Be Kind to People Week
Berlin to Broadway with Kurt Weill
Bette Midler’s Clams on a Half-Shell Revue
Black Girl
Black Light Theatre of Prague
Black Picture Show
Black Sunlight
The Black Terror
Black Visions
Les Blancs
Blasts and Bravos: An Evening with H,L. Mencken
Blue Boys
Bob and Ray—The Two and Only
Boesman and Lena
The Boy Who Came to Leave
A Breeze from the Gulf
Brief Lives
Brother Gorski
Bullshot Crummond
The Burnt Flower Bed
Button, Button
Buy Bonds, Buster

The Cage
Candide (1)
Candide (2)
The Candyapple
Captain Brassbound’s Conversion
The Caretaker
La Carpa de los Raquichis
The Carpenters
The Castro Complex
Cat on a Hot Tin Roof
The Changing Room
Charles Abbott and Son
Charley’s Aunt
Charlie Was Here and Now He’s Gone
Chemin de Fer
The Cherry Orchard
The Chickencoop Chinaman
The Children
Children! Children!
Children in the Rain
Children of the Wind
The Children’s Mass
A Chorus Line
The Chronicle of Henry VI: Part 1, Part II,
The Circle
Clarence Darrow
Cold Feet
Conditions of Agreement
Coney Island Cycle
The Constant Wife
The Contractor
The Contrast
The Constant Wife
The Country Girl
Crazy Now
The Creation of the World and Other Business
The Crucible
Crystal and Fox

Dames at Sea
The Dance of Death
Dance wi’Me/Dance with Me
A Day in the Life of Just about Everyone
Dear Nobody