The play moves through the trials, with Wilde's libel suit ending without resolution, prompting the Queen to bring up charges of "gross indecency" to court, a result of the evidence provided in Wilde's first trial. Between the first and second trial, we flash forward to a scene between a narrator (Dan Rosenthal '02) and Marvin Taylor (Liz Janiak '03), a New York University professor. Taylor makes it easy to laugh at the implications of Wilde's trials, especially given the pretentious delivery that is reminiscent of a bad English lecture. Yet the time warp does not seem out of place in the context of the play, nor is the scene entirely without purpose. Janiak, despite the facade, reminds the audience that homosexuality did not exist as a concept before 1890 and also explains the failure of Wilde as a champion of gay rights.

The second and third trials are more of a showcase of Wilde's fine mind than anything else. We hear epigrams that sound familiar, pieces from De Profundis, Wilde's epistle on the trial proceedings, and we watch his demise from self-assured man of arts and letters to groveling, humiliated and saddened accused criminal.

The power of the four narrators, who throughout the play substituted in various small roles and aided in the time and place change sequences, comes to full circle at the end of the play. Though the show is traditionally cast as all male, Janiak and Kalappa don't even make gender an issue. Instead, the narrators aid to the ensemble nature of the play, most evident in its closing minutes. A throbbing heartbeat, a single spot and green sidelights illuminate Wilde as he grovels for mercy though he has done nothing wrong. The full cast, a phrase at a time, relates Wilde's The Balland of Reading Gaol, a story of one whose heart was pure but who suffered at the hands of a judging society, rendering the play profound and Wilde's larger-than-life image even stronger than before.