“More than a lost curiosity, this revival of Vera is Wilde’s politics in sharp, timely focus.”
When we think of Oscar Wilde, it’s Earnest, Dorian Gray, An Ideal Husband that spring first to mind – works that cemented him as one of the most influential writers to ever live. But tucked in the shadows is his lesser known Vera; or The Nihilists, Wilde’s very first play. Premiered in New York in 1883 to poor direction and even poorer reviews, it has since failed to make the splash on the theatre scene that works like Earnest have. Now, at the Jack Studio Theatre, Vera resurfaces in a current and intimate revival, reminding us that Wilde’s pen was as political as it was playful, and that even his earliest work strikes at the heart of human conflict.
Adapted and directed by Cecilia Thoden van Velzen, a politically charged theatremaker from the Netherlands, this is the first London staging of Vera; or The Nihilists. Set in tsarist Russia and loosely inspired by revolutionary Vera Zasulich, the play follows Vera Sabouroff (Natasha Culzac) as she seeks vengeance for her brother’s unjust imprisonment. Drawn into a faction of social radicals called “The Nihilists”, she quickly becomes their most ruthless assassin. United only by their hatred of tyranny, the group plots to murder the Tsar and ignite revolution. But when Vera falls for Alexis (George Airey)– the Tsar’s idealistic son who secretly sympathises with the Nihilists– her loyalties fracture, and she must choose between her morals and the cause.
The tragedy feels alarmingly current, which makes this revival both timely and essential. At one point, Vera declares, “what stands between us and freedom in Europe is a few old men,” a line that lands with chilling resonance in today’s political climate. With a large cast for such
an intimate stage, van Velzen builds a world that feels populated, urgent, and alive. While the first of four acts takes time to gather energy, the second sustains a momentum that never falters. Culzac anchors the piece with a strong, grounded performance– easy to root for, emotionally truthful, and compelling throughout. The ensemble (George Airey, Kat Kim, Jonathan Hansler, Jo Idris-Roberts, Finn Samuels, Catherine Allison) deftly handle multiple roles, giving each character a distinct, lived-in presence. Jo Idris-Roberts and George Airey deserve a special mention– Idris-Roberts for their tactful approach to two very different roles: neither overstated nor pushed, but fully inhabited, nuanced, and three-dimensional– not an easy feat and a joy to watch. George Airey, meanwhile, has a way with Wilde’s text that makes it feel fresh and spontaneous– every thought seems to land new. His Alexis is endearing, lovable, and naïve, a welcome lightness against the production’s darker forces, and one of the evening’s strongest impressions.
Structurally, each act is framed by a narrator, guiding us through shifts in space and time. This device could have felt intrusive in a fully immersive staging, but here it underlines the production’s central aim: to honour Wilde himself. The blunt closing line– “End of Drama”– followed by an acknowledgement of the play’s disastrous 1883 reception, makes the point clear. This is as much a tribute to Wilde’s overlooked legacy as it is a retelling of his play, and in that respect, it succeeds.
Design also plays a vital role. Ruth Varela’s set and lighting, with stark white modular structures, create a cold, sculptural landscape that heightens the atmosphere of tension. Minimalism builds an eerie, clinical atmosphere, heightened by van Velzen’s sharp sound design. The same white aesthetic extended to the props, including fragile-looking white swords, which unfortunately undercut the menace of fight scenes. What might have been a bold stylistic choice ended up distracting, deflating otherwise charged moments.
Overall, this revival of Vera; or The Nihilists is a hidden gem: ambitious, resonant, and far more urgent than a “lost Wilde” might first suggest. It reclaims a neglected play and reframes it for today– proof that Wilde was grappling with politics and power long before he sharpened his wit for comedy.
Vera; or The Nihilists will be on at the Jack Studio Theatre until September 27th. Tickets here: https://brockleyjack.co.uk/jackstudio-entry/vera-or-the-nihilists/