A memorable visit to the Gaiety Theatre in Dublin on
Thursday evening last (18th October 2012) to see the, Robert Fox,
Chichester Festival Theatre and Theatre Royal Bath Productions presentation of The Hampstead Theatre Production of “The Judas
Kiss” written by David Hare and directed by Neil Armfield.
The set for the production is designed by scenographer Dale
Ferguson, costumes designed by Sue Blane, lighting design by Rick Fisher and
sound design is by Paul Groothuis.
Act I is set in a London hotel room as Oscar arrives from
the court and forgoing the option to run, awaits the arrival of the police to
arrest him. The setting is large and dark with a sense of Victorian opulence.
This is achieved by setting the corner-set diagonally to the auditorium with a
jogged run of high black flats on stage right and a great, broad swag of black
crushed velvet draped as a canopy over a large, splendid brass bed with black
enamelled posts. The velvet drape forms the wall behind the bed and seams to
pour across the floor filling all of the acting space down to the apron of the
stage. The jogged panels of the black wall accommodate a large wall clock with
a wall mounted oil lamp either side, and upstage panel has a narrow vertical
window ope, allowing sun light in and the occupants of the room a view onto the
street below. There is long, dark, leather upholstered, button back couch under
the wall clock and two, black velvet draped occasional tables, set against the
wall, one under each of the oil lamps. Centre stage is occupied by a large
carved wooden framed chair with leather upholstered seat and studded back panel
with a wine table beside it. There is a square top restaurant table set to
stage left with a serving trolley and a single chair. The entrances and exits
are made down stage left and right between the ends of the set and the
tormentor flats.
Act II is set some years later in Naples, Wilde is down in mood and financially broke, and while Bose is having a good time he is preparing his departure strategy and abandonment of Oscar.
The Act II setting is again large, and while following the same setting lines as in Act I, in this act it is bright and has a sense of Mediterranean lightness. This is achieved by presenting the corner-set diagonally to the auditorium with the jogged run of high black flats on stage right rearranged to give an upstage opening with the window flat now set stage left of the opening. A bright shaft of Mediterranean sunlight comes through the window ope, adding to the sense of the location and the time of day.
Whereas in Act I a great, broad swag of black crushed velvet
draped as a canopy over a large, brass bed; In Act II there is a large white
gauze draped high over a basic iron bed. It forms the wall behind the bed and
seams to pour down onto the floor.
The set was supportive of the play, giving an appropriately
styled setting for the performers without distracting from the performance but
with enough visual cues to stimulate the imagination of the audience into
visualising the rest.
My pencil illustrations show my interpretation of the stage
plan for Acts I and II, and an impression of the elevated view.
Sue Blane’s costumes gave credibility to the characters,
creating a sense of the fashion and style of the period and by way of contrast
the service liveries of the hotel staff.
Lighting designer Rick Fisher’s light changes met the mood
of the play’s moments and the strategy of having a moving beam of light travel
over the furniture pieces to indicate the passage of time was very effective.
Wig Mistress: Helen Keelan:
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