"How do you create dynamic drama with a hero who refuses to move? Armfield’s luxurious revival doesn’t solve that problem...This production artfully illuminates the greatest, most operatic contradiction that Mr. Hare’s Oscar embodies. That’s love as a force both sacred and profane...The second biggest problem with 'Judas': As written — and as played — Bosie isn’t worthy of anyone’s love...Which means 'The Judas Kiss' is without friction as well as without motion."
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"Everett could hardly be better in a role he seems to have grown himself toward...In the process the play, too, grows toward the brilliance of its subject...The play’s flaw is too essential to be repaired so Armfield has had the good sense to highlight it instead. As Bosie, Charlie Rowe does nothing (except look good) to mitigate the character’s awfulness...Importantly, this production is also much more beautiful than the earlier one."
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"Mr. Everett’s performance is a creative impersonation of breathtaking authority...One of the failings of 'The Judas Kiss' is that Mr. Hare, much to my surprise, has idealized Wilde’s personality...Even more disappointing are the one-note performances of the actors cast in the key supporting roles...I wouldn’t have wanted to miss seeing Mr. Everett, nor should you, but be forewarned that you’re more than likely to go home feeling let down.”
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"The first act in David Hare’s 1998 vivid but verbose play takes place right before Wilde is imprisoned for his out-and-loud sexuality. The second unfolds after his release from the clink and his handsome blue-blood lover cavalierly betrays him. Neil Armfield’s staging comes with a fine performances by Everett and company, moody atmosphere and exposed skin, especially from a minor character with a major physique."
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"Everett delivers a performance that deserves to become legendary...The play is admittedly a bit slow and talky...Still, there are many moving moments...The witticisms are, not surprisingly, delivered with exquisite comic timing by Everett. But his performance goes much deeper. Wearing a fat suit and a wig, the dashing actor is virtually unrecognizable in the role, but the weight of his portrayal is as emotional as it is physical."
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"Rupert Everett, barely recognizable in a padded suit and prosthetic makeup, plays Oscar Wilde in the late 1890s, when the writer was tried for 'gross indecency' for his affair with Lord Alfred 'Bosie' Douglas...There’s delicious indecency from actor Tom Colley, who spends 20 minutes reclining in the nude. That, unfortunately, is the only rise David Hare’s gabby drama provokes."
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"Wearing a fat suit, Everett delivers a wonderfully detailed and nuanced performance that captures Wilde’s flamboyance, wit and generosity but also stresses his vulnerabilities...Unfortunately, Neil Armfield’s spare and uneven production does not make a strong case for the play...The first act is packed with drama, but the second act is downbeat and static. Other than Wilde, the characters are painted thin, especially the detestable Bosie."
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"We know about Wilde's tragic end, but we have a hard time believing that he took it so tragically the whole time. In so thoroughly canonizing Wilde, Hare and Armfield rob him of that which makes him so special: His irreverent wit and propensity to treat all serious things of life with sincere and studied triviality. Worse, it gives Wilde no real emotional journey, rendering this drama not just depressing, but sleepy."
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