Oscar (Australian Ballet) ★★★★½

Choreographed by Christopher Wheeldon. Composed by Joby Talbot. Sydney Opera House. 8-23 Nov, 2024.

Oscar Wilde, bon vivant and one of the greatest writers and wit of the twentieth century has a legacy few can compete with. His plays, novels and writings are the stuff of legend, but the life of Wilde, sparkling and scandalous as it was, is ultimately a tale of hubris colliding with homophobia leading to his downfall. Now, through the opulent beauty of choreographer Christopher Wheeldon and composer Joby Talbot’s original ballet, Oscar, presents his story through a romantic lens with an eye on his legacy.

Told in two acts, each with an opening monologue delivered by Sean O’Shea, Oscar begins with Wilde in court, sentenced to two years prison for gross indecency. Locked in jail, Wilde dreams of his earlier life through the lens of one of his stories, ‘The Nightingale and the Rose’. In Act Two, suffering from an infected injury, Wilde’s dreams turn to nightmares as he envisions ‘The Picture of Dorian Gray’, casting himself as the disfigured portrait jealously watching while his perfect self enjoy the fruits of the world. 

The narrative is not linear, but a fluid combination of dreams delving into Wilde’s psyche. A bit of poetic licence translates Wilde’s great love, and one of history’s most manipulative “evil twinks”, Lord Alfred Douglas (Bosie), into a more sympathetic and romantic character than he was in reality. Those with a strong familiarity with Wilde’s story will recognise many of the characters from his life, his first lover turned friend Robbie Ross, his trio of famous actress friends Sara Bernhardt, Lillie Langtry and Ellen Terry, his wife Constance and their two sons and of course Bosie, and Bosie’s father Lord Queensbury (if you’re new to Wilde’s tale, its best to do a quick read of the programme).

This ballet, the first full-length ballet commission by Australian Ballet in about two decades is stunning to watch. Talbot’s music has luscious melodies that sound full and vivacious with the full orchestra. The sound is all encompassing and cinematic in its scope. The aural storytelling hits with clarity. Wheeldon’s choreography is playful and sensual bringing a wide range of characters to life, showing us Wilde’s transformation from haughty toast-of-the-town to broken, delirious prisoner. Along the way we’re treated to the storybook Nightingale, a pair of vaudevillian drag queens, key scenes from The Picture of Dorian Gray, an orgy and more.

At the performance I saw, Joseph Caley performed as Wilde and was utterly magnetic, full of lost longing. His moments with his Shadow/Dorian (Jake Mangakahia) were beautiful as was the pas de deux with Bosie (Elijah Trevitt). Other standouts included Jill Ogai as the Nightingale, Rina Nemoto as Constance Wilde and Mason Lovegrove as Basil Hallward.

Oscar is a wonderful addition to the Australian Ballet repertoire and will obviously be seen worldwide. This is a score I will listen to repeated (once it is released) and show I look forward to revisiting again.