PLAYS FOR HALLOWEEN MONTH!: A look at "The Canterville Ghost" by John Vreeke, adapted from the novella by Oscar Wilde

 

Mariah (as Virginia Otis) and Bob (as the Canterville Ghost) in a production I directed for Lakewood Theater in Madison, Maine. "When a golden girl can win/Prayer from out the lips of sin"

The Canterville Ghost by John Vreeke is a most faithful adaptation of Oscar Wilde's story, as, in fact, it takes much of Wilde's prose and splits it up among the characters. It is a piece, much like readers theater, where the cast simultaneously narrates the story and acts it out, often picking up cues mid-sentence from one another. It was challenging to direct such a piece, and, I daresay, challenging for my actors as well (though I can say with all honesty that they all did a wonderful job). The flow is of utmost importance, and the script is a valuable lesson of looking and listening, so vital for every actor. 

If you are not aware of the story, it involves an American family by the name of Otis moving into a haunted manor house in England in the late 1800s. The house is haunted by Lord Canterville, an actor who murdered his wife in 1587. The house comes with a very serious housekeeper and butler, who warn the American family that they are moving in with a ghost. The family is nonplussed, and, part of the humor in Wilde's story is the fact that our Canterville ghost cannot scare these Americans, not even with the pool of blood that reappears even after it is scrubbed away daily.. It is also very playful in terms of the difference between Americans and the British. Even during his most extreme haunting of the family, the Canterville Ghost must endure the indignity of the family's father telling him to oil his chains, and the young rascal twins (patriotically named Stars and Stripes) hitting him with their pea shooter. 

The ghost being attacked by the family after a failed haunting

The heart of the play is in the relationship between Virginia Otis, around 16, and the Ghost himself. There is a prophecy that goes like this:

"When a golden girl can win
Prayer from out the lips of sin,
When the barren almond tree bears
And a child gives away its tears,
Then shall all the house be still
And peace come to Canterville."

Virginia is sensitive, an artist herself who has some lovely moments with the deceased and hammy actor. Here, the humor shifts into a poignant, lovely examination of death, the type really only Wilde can pull off. "The Ghost is so very tired. And it is Virginia who helps to release him, and bring the aforementioned peace to Canterville--- and not just the estate. 

Again, Mr. Vreeke's adaptation is not without challenges, but it is a rewarding piece that I enjoyed directing immensely.  You can find the rights to it by visiting Concord Theatricals--- simply 
CLICK HERE

If you're looking for a funny, spooky take on urban legends and ghost stories for younger audiences, check out my play ARE WE SCARED YET? by CLICKING HERE

What are some plays that get you in the Halloween spirit? Comment and let me know!

30 PLAYS IN 30 DAYS: Play #29 "Salomé" by Oscar Wilde

 

I am reading 30 Plays in the 30 Days of September and discussing them here. I can't believe the month is almost over...

Play #29

Salomé by Oscar Wilde

The original version of this play was written in French in 1891 and translated into English three years later. The first production was in Paris in 1896, because it was banned in Britain because of its depiction of Biblical characters. It would not be performed there until 1931. 

One might remember that this play was written before Oscar Wilde had success with plays such as A Woman of No Importance and The Importance of Being Earnest (which I had the pleasure of directing a while back). This one act tragedy bears little resemblance the quick witted comedies that many associate with Wilde, though the luxurious use of language is still on display. 

Salomé is the stepdaughter of Herod Antipas, who is having a drunken party. He and his guests have been leering inappropriately at Salomé all evening, so she steps away and hears the voice of Jokanaan the prophet (John the Baptist), who is being held prisoner. She demands to see him, even though it is not allowed, and is drawn to him, though he calls her harlot and such. She wants to kiss his mouth and he rejects her. She persists and he continues to reject her, to the point where the young Syrian captain of the guard, upset that she wants another man, kills himself. Right there between them. Just kills himself. 

Right there. 

Salomé doesn't pay the corpse much mind but tells Jokanaan that she will kiss his mouth one day. He is taken back to his cell, and Herod comes to find Salomé, slipping on the blood of the young captain (a bad omen--- of course). The old perv wants his stepdaughter to dance for him, even though his wife, Salomé's mother Herodias, is right there. Salomé says she will dance for Herod, against her mother's objections, so long as Herod swears to give her anything she wants in return. He gives the oath. She dances the dance of the seven veils. Herod is super happy, the old perv. Then Salomé tells him what she wants. 

The head of Jokanaan. (spoiler alert: yes, she does kiss it)

Salomé is not named in the Bible, but is only known as Herod's stepdaughter who asks for the head of John the Baptist. Apparently, Oscar Wilde has been interested in writing on the subject of Salomé since his Oxford days. 

Like most everything Wilde ever wrote, it is a well-written with wonderful turns of phrase:

"Only in mirrors should one look," says Herod in one of his speeches, "for mirrors do but show us masks."

Salomé has been adapted in many different media (including a film with Al Pacino and Jessica Chastain), and there are countless pieces of art depicting the young woman with a head on a platter. For all of this, I do not think this particular play is what people think of when they think of Oscar Wilde... I know I can't help but think of Earnest or An Ideal Husband or his beautiful collection of fairy tales. I once had the good fortune to play Oscar Wilde himself (though he was much, much taller than I) in a production of a play called Wilde West by Charles Marowitz, which depicts on Wilde on his American tour (which did happen) where he meets outlaw Jesse James (which did not happen). It was a great pleasure to play a genuine genius and to learn about his life. 

Have you read Salomé?  Let me know in the comments!