Oscar Wilde’s life might have been tortured, but the writer never believed he had been disgraced, only rejected.
“I have always been a fan of horror movies, and I’m sure that was part of the attraction to me.”
Bridge Rep Theater director Olivia D’Ambrosio has not taken message-mongering to heart in this lively production of a rarely produced play.
What Oscar Wilde was peddling in America was beauty. Art for art’s sake. Gorgeous flowers. Ravishing colors.
What could have been a readable, informative, pleasurable book that would, much like Woody Allen’s recent film MIDNIGHT IN PARIS, enhance our experience of some of the modernist figures we adore wallows too often in brain-dead literary theory.
Editor Nicholas Frankel is right to argue that familiarity with Oscar Wilde’s original manuscript of The Picture of Dorian Gray deepens its vision, suggesting that the 1891 novel is a far less morally reassuring tale than readers have thought. The Picture of Dorian Gray: An Annotated, Uncensored Edition by Oscar Wilde. Edited by Nicholas Frankel. […]