WEST MOON STREET
Published by Samuel French

Lord Arthur Learns About Love and Death and the Importance of Being Insouciant

A production of the Prospect Theater Company, “West Moon Street” is simply a delight. Mr. Urbinati and his director, Davis McCallum, see the allegorical potential in Wilde’s story. “Lord Arthur Savile’s Crime” is, in the end, a treatise on the fears that unravel us in the wake of marriage, the equations we make between domestic serenity and death. And “West Moon Street” has fun making all the connections.

In the story, a young Oxford graduate, Lord Arthur, learns from a palm reader at a dinner party near the eve of his wedding that he will be complicit in a murder. Convinced that he must get this killing business out of the way before he marries, Lord Arthur postpones his wedding and sets about trying to determine who he will extinguish.

“He had lived the delicate and luxurious life of a young man of birth and fortune, a life exquisite in its freedom from sordid care, its beautiful boyish insouciance,” Wilde writes of Arthur, processing the news. “And now for the first time he became conscious of the terrible mystery of Destiny, of the awful meaning of Doom.”

David Ruffin does a sly, wonderful job mining Lord Arthur for all the boyish insouciance Wilde intended him to embody so that we see exactly what it is he’ll have to sacrifice. And Mr. Ruffin is surrounded by a cast of equally skilled comic performers, among them, Glenn Peters who plays, in drag, the doddering old aunt whom Lord Arthur sets out to eliminate, and Jocelyn Greene as a consummate drawing room flibbertigibbet — grating giggle and all. “West Moon Street” is the kind of play at which it is virtually impossible to have a gloomy time.

“West Moon Street” continues through May 20 at the Hudson Guild Theater, 441 West 26th Street, Chelsea, (212) 352-3101.

Ginia Bellafante, The New York Times
May 1, 2007

 New Play Improves on Oscar Wilde Short Story
“West Moon Street” expands original’s subversive humor

Director turned playwright Rob Urbinati has done a truly marvelous thing: He’s turned an infrequently read Oscar Wilde short story into a play that improves on Wilde’s original. “Lord Arthur Savile’s Crime,” the basis for Urbinati’s West Moon Street, tells the tale of young Lord Arthur (David Ruffin), who’s on cloud nine—he’s just down from Oxford and engaged to be married to the appropriately aristocratic Sybil (Melissa Miller). His naïve happiness is smashed to smithereens by a night spent at the residence of his confidante Lady Windermere (Judith Hawking), at which a mysterious palm-reader foretells a deadly turn of events.

Wilde’s original is filled with wit and subtly subversive humor. Urbinati’s adaptation takes Wilde’s lead and runs with it, making clear things that would have been taboo in Oscar’s day and subtly suggesting things that are still subversive today. For example, Urbinati transforms Herr Winkelkropf (the sharp, intelligent Michael Crane)—merely a German “revolutionary” with “Russian” leanings in the original—into a frankly acknowledged anarchist, and gives him lines that underline political and social points only hinted at in Wilde’s story.

Even more, Urbinati turns the originally mild role of Lady Windermere into a cunningly manipulative force of nature (like her namesake in Wilde’s play “Lady Windermere’s Fan”), and Hawking turns the role into an unquestionable “lead” performance, replete with quotable lines and juicy motivation. Glenn Peters gets the “Lady Bracknell” award for giving the evening’s only drag role (the stiff-necked but hedonistic Lady Clem) a truly believable interpretation.

This production also benefits from the designs of Lee Savage (set) and Naomi Wolff (costumes). Savage sets the tale’s visuals against an aquatic blue background, which achieves the right balance between light comedy and the murderousness of Lord Arthur’s “dark quest.” Wolff’s costumes also tell their own story: Many of the show’s biggest laughs arrive through the overstated outfits of silly clotheshorse Jane (Jocelyn Greene).

In the central role of Lord Arthur, Ruffin unfortunately takes his time to get the role right, mumbling many of his lines until it’s time for Arthur to take center stage. Once he’s on a roll, though, Ruffin clearly expresses Arthur’s dilemma, which is only exacerbated by the fact that Lord Savile is a certifiable idiot.

By Jonathan Warman, The New York Blade
Apr 27, 2007

West Moon Street, based on the Oscar Wilde short story "Lord Arthur Savile's Crime," is a charming, sprightly evening of theatre. It's a confection that's lovely to look at, and easy to enjoy. Like the source story, it's mostly farce with a dash of melodrama and a few fairly incidental murders along the way—a light entertainment that doesn't promise more than it can deliver.

The plot is simple. Young aristocrat and man-about-town Arthur Savile has his palm read at an elegant society salon hosted by Lady Windermere. When told by the palm-reader, Podgers, that his fate is to commit a murder, Arthur becomes convinced that he cannot follow through on his engagement to the lovely Sybil Merton until his "duty"—that is, the murder—is fulfilled. A series of mishaps ensues as Arthur tries to choose a victim and a modus operandi for his crime; each time he thinks he has succeeded, he reinstates his wedding, only to discover that his plans have gone awry. Of course, as in any good farce, one can correctly predict that all will come right in the end, allowing the lovers to be reunited, and everyone—except the few fatalities—to live happily ever after.

Urbinati's adaptation is deft, using the source material to its fullest and fleshing out beautifully several minor characters only alluded to in passing in the original story—Arthur's elderly aunt Clem, the fiancée, a giddy and fashion-obsessed country cousin, and, in my favorite scene in the play, a Russian anarchist from whom Arthur attempts to purchase an explosive device...

The production is visually lavish without going over the top—full of strong colors and some truly spectacular costumes (by Naomi Wolff), especially for Lady Windermere, who's adorned with peacock feathers, brocades, and elaborate bustles in eye-catching fabrics...

The cast as a whole sparkles and takes advantage of all of Urbinati's witticisms. I was especially charmed by Michael Crane, who gives the aforementioned anarchist a fiery conviction; by Jocelyn Greene, who makes the affected and simpering Jane enjoyable with her glee in all of her absurd pronouncements; and the perfect deadpan of Alex Webb as Savile's helpfully devious valet Charles, instrumental to the overall success of the plot.

West Moon Street is enjoyable, clever, and witty, though it doesn't quite live up to its subtitle, "A Wilde New Comedy." Which, perhaps, is an unfair thing to ask—but playwright Rob Urbinati, director Davis McCallum, and the charming actors are clearly trying to do just that. They come close to succeeding.

Loren Noveck, nytheatre.com
May 3, 2007

A light satirical comedy about premeditated murder set in late-Victorian London may sound beyond oxymoronic. But when the source material is an Oscar Wilde short story, nicely recrafted for the stage by Rob Urbinati, and it gets this kind of stylish and careful production, under the direction of Davis McCallum, the end result is delicious and the improbability of the plot hardly matters.

Wilde's story is called "Lord Arthur Savile's Crime," and it was published in 1891, just a year after his only novel, The Picture of Dorian Gray, and just a year before Wilde's scandalous first play, Lady Windermere's Fan. Many flashes of Wildean wit remain in this one-act piece, which also features Urbinati's sly overlay of some slightly more contemporary dialogue and facial expressions.

David Ruffin as Lord Arthur and Judith Hawking as Lady Windermere (no relation to the play) have the best and brightest lines, but the cast is uniformly excellent. Having a man play an elderly aunt in a Wilde play is hardly a fresh idea, but Glenn Peters acquits himself well as Lady Clem. Melissa Miller as the young lord's fiancée, Michael Crane as an anarchist, and Alex Webb as Lord Arthur's butler also stand out. The mood of the piece is neatly set, even before the curtains are parted, by pianist William Demaniow playing period songs, which he continues to do throughout the play.

The deepest bow must go to dialect coach Ryan Dunn, who has elicited nearly flawless English accents, proper for both class and era, from all eight actors (even the German-born anarchist sounds as if he'd been living in London a while). But other production elements shine, too, especially the costumes by a five-member crew.

Backstage