there is something so considered and intentional in the rhythm of the monologues of black sails, especially flint’s monologues and i think in part it has to do with toby stephens being a theatre actor who has done shakespeare which is why he’s so spectacular at them but the cadence and the inflection and the rhythmic structure of so many lines and speeches are buried somewhere in my hindbrain as if they are pieces of music rather than dialogue. it’s so so so impressive to me both from a writing standpoint and an acting standpoint
@theoreticalwitchcraft god you are so right the “because there is no life here there is no joy here there is no LOVE. HERE.” is so fucking incredible. louise barnes is also absolutely amazing at this its partly why their scenes together just propel the show into the stratosphere. i also think of her final speech to peter ashe where she’s like “you DESTROYED our LIVES” that entire monologue is musical. god
And you? What do you think? You see me as the villainhere?
I see you as the agent most likely of securing my share of the gold on that beach. As long as that remains true, I am not bothered in the least by whatever labels anyone else decides to affix to you.
I spent the past few days thinking about the pain of being split in two and the struggle as an artist to be accepted and accept yourself for who you are. This moment had it all. Toby Stephens as Oscar Wilde in Prisoner C33 is a revelation.
Prisoner C33 review THE GUARDIAN – Trevor Nunn directs a wretched, wonderful Wilde
In this dark, poetic one-man play, Toby Stephens gives it his all as the wrecked writer – imprisoned for gay sex in 1895 – as he rues his misfortunes with his younger self
Watching plays on television does require a certain mindset. Appearing as part of BBC Four’s Sunday Night Performance strand, Prisoner C33 is a brand new one-man play about Oscar Wilde’s time in Reading Gaol. It’s written by Stuart Paterson, directed by Trevor Nunn, and stars a very good Toby Stephens as Wilde, playing two very different versions of the writer in conversation with each other. If you are in the mood for an hour of one man talking to himself about the great misfortunes of his life, in a dim, candlelit cell, while the perforated eardrum that would contribute to his death causes him great pain, then this is a poetic and well-crafted play that I imagine would be even more electric on stage.
That hour doesn’t stretch patience or outstay its welcome. It begins with an animalistic moan, deep in the bowels of the Victorian prison, its candles and iron gates lending this a gothic chill. The moan is not coming from Wilde, yet, but from a disturbed man a few cells down, whose mutterings earn him an off-screen beating from a guard. This is 1895, and Wilde is in prison for gross indecency after the details of his affair with Lord Alfred Douglas, his beloved Bosie, became public knowledge. He would emerge from his sentence having written De Profundis and with the material for The Ballad of Reading Gaol, but C33 is more concerned with what Wilde had to endure, and the ultimate cost of that.
Stephens plays him as a wretched, tortured soul brought to the depths of despair by his predicament. He’s cold, hungry, sick, dirty – and bored. “I can bear anything except losing my mind,” he says, as if the prospect is imminent. Perhaps it was. Most of the drama concentrates on this wretched version of Wilde, a man who can only refer to himself by his prisoner number, in conversation with his younger self – a witty, elegant man, dressed in immaculate velvet, with rouged cheeks, who is urging his counterpart to strive for survival. “I say, remember yourself for who you are. A great and exceptional man,” says the young Oscar to the prison Oscar, who refers to his surroundings as “this tomb for those who are not yet dead”.
Nunn directs with utter sparseness, as if for a stage production, and, clearly, this is about the dialogue and the performance (or should that be performances?). Wilde debates grand subjects with himself. He rails against England and “sound English common sense” and the English education system. He talks of morality and art and faith and God. Is art useless? Is he ashamed of the success of The Importance of Being Earnest, a play he wrote in haste for money, that the young Oscar says will be performed for the rest of time? Wilde’s ego and snobbery come and go. He is ashamed of his materialism, yet finds solace in imagining rich fabrics and good French soap.
There is much to say about love, too, from the betrayal of “sweet Bosie” to his adoration of his wife and children, though we know that he would never see them again. He wonders if his ability to see “all the beauty in the world”, in men and in women, makes him a superior man. It would truly be a crime if this famous wit were not allowed a glimmer of comedy in his musings, and among the trauma and the horrors, there are plenty of moments of sly humour. If his sexuality is superior, should he expect an honour from the Queen? “Well, certainly a tax rebate, at the very least,” he quips.
It is not an easy watch, and I mean that quite literally. The conditions of a prison in 1895 were grim, and the idea that his cell “lacks a woman’s touch” is laughable; no woman could improve on that filthy, freezing cesspit. It is dark and gloomy (if this were BBC One prime time, there would be issues raised by the viewers who complain about mumbling), its protagonists looking for light in the shadows, and there is a piercing, high-pitched noise every time Wilde repeats his refrain of “If it was not for my ear …”
But Stephens is remarkable, and gives it his all as both the wreck of a man who would live only for another four years, and as the suave, younger Wilde, exhorting his older, ruined counterpart to live. A man imprisoned for gay sex might be a relic of the past in this country, but it makes a pitch for contemporary relevance in other ways, too. “We cannot keep on living like this, governed by fools who think only of wealth and of war and the size of their estates,” Wilde rages, adding a touch of timelessness to this sorry, sad tale.
Prisoner C33, Toby Stephens’s excellent one-man rendition of Wilde’s incarceration in Reading and the way it tortured him, physically and mentally, wasted no time in confronting this squalor, the camera panning to the effluent-filled bucket within two minutes. Wilde implored the warders that it hadn’t been emptied in three days. “The smell will kill me!” he said, to deaf ears.
You would have to have a heart of stone not to be hugely moved by this play, written with skilful but harrowing intensity by Stuart Paterson and performed equally so by Stephens. Of course when you have the full canon of Wilde’s bons mots and one-liners to draw upon it makes the job easier, his light wit lifting the cruel spectacle of this wretched artist in his dark, stinking cell.
Stephens played two Wildes, one the broken prisoner, skinny with his hair cut; the other the Wilde of yore, foppish and adored in his burgundy velvet jacket. These two selves in conversation with each other meant that Stephens had double the work to do, but it allowed the play to explore Wilde’s brilliance and contradictions, as a man who claimed to despise materialism yet admitted, “I am fascinated by the rich.”
Occasionally Stephens’s theatricality edged towards the “Withnail”, but it was mostly beautifully judged and perfectly delivered. His imploring speech, stating, “We cannot continue keep on living like this, governed by fools who think only of wealth and of war and the size of their estate,” still feels perfectly applicable.
In 1895, in cell 3, floor 3, in Reading Gaol, we find Prisoner C33. Starved, thin, and with his hair crudely hacked short, he is confined alone in this dark cell, denied water to wash himself with and refused access to a toilet.
Prisoner C33 – real name Oscar Wilde – is a dramatist of genius, poet, wit, novelist, husband, father of two children and, until recently, the darling of London society. He has been imprisoned for the crime of having participated in a homosexual relationship. He is struggling to reconcile his identity as a creative genius with the trauma of his treatment as a despised criminal.
In despair, and fearing the onset of insanity, he fantasises about being in conversation with his former self – the elegant, debonair, famous, popular, long-haired, flamboyant Oscar Wilde before this nightmare began. Their talk, Oscar with Oscar, is full of Wildean wit, mischievous humour, nostalgia, philosophical insight, and sardonic wisdom. But as he contemplates his fall from grace, he agonises over the loss of his wife and sons, and over the conflict between love and hate, aroused in him by the memory of his lover, Lord Alfred Douglas.
Prisoner C33 vividly reminds us that only a century ago, a great artist, a genius of the theatre, was imprisoned and then exiled for being gay, in unutterably humiliating national condemnation.
Directed by multi-award winner Trevor Nunn and written by Stuart Paterson.
