It’s not unusual for new musicals to go through development phases, including concert performances designed to gather audience feedback. But it’s far less common to invite critics to review these early-stage presentations. Bucking the trend, Stoker Wilde has done just that, offering a ninety-minute glimpse of a new glam rock musical exploring the remarkable friendship of literary giants Bram Stoker and Oscar Wilde.
Eric Rosen’s book draws heavily on what we know of Stoker and Wilde’s real-life friendship, and occasional rivalry. Both from Dublin and students at Trinity College, Stoker would go on to marry Florence Balcombe, Wilde’s former suitor. Their lives intersected at various points, often in complicated circumstances.
Stoker Wilde imagines that this friendship is rooted in a romantic encounter at university. Wilde made little attempt to hide his sexuality and was eventually convicted of gross indecency and sentenced to two years’ hard labour. Stoker’s own sexuality is less clear-cut, though letters to Walt Whitman and aspects of his depiction of Dracula have led some to suggest he may have been closeted.
The story is compelling, not least because it centres on two significant and well-known historical figures. An expanded version of the musical would benefit from spending more time establishing the relationship between the two men and exploring their early years together. As it stands, much of this is covered in a single song, making it difficult to fully invest in the turbulent relationship that follows.
Music and lyrics from Rodney Bush help drive the story forward, with the rock elements heightening tension at the right moments while also knowing when to pull back for more tender and nuanced scenes.
Stepping into the role at short notice, Connor Carson excels as Bram Stoker. There’s a vulnerability that gradually gives way to determination and ambition, and Carson captures this through both his physical performance and vocal ability. Christina Bennington also delivers flawless vocals in the role of Florence, though an expanded version could make better use of the character.
The show’s biggest challenge lies in its depiction of Oscar Wilde. This historical figure, the author of Lady Windermere’s Fan and The Importance of Being Earnest, does not naturally lend himself to a glam-rock musical. As much as Glen Adamson commits to the concept, the fusion of Wildean dandy and glam-rock frontman never feels entirely convincing.
Producers tell us we’re at the beginning of Stoker Wilde’s journey, and audiences should hope that journey continues in the right direction. There’s enough here to suggest Stoker Wilde could become something special. With further development to address some of its rougher edges, it should have no problem finding a loyal audience.
Listings and ticket information can be found here
