The Countess (play)

The Countess received critical acclaim when it premiered in the spring of 1999 with the New York Times calling the play "…serious…wonderfully witty…erotically charged." "splendidly directed" and "the entire cast is excellent".^[3] Some critics of the London production were less impressed. Michael Billington called it "curiously stolid" and objected to what he called the "forelock-tugging framing device, set in Windsor Castle" in which Effie meets Queen Victoria.^[4] Ian Shuttleworth also objected to the "clunky" framing scenes, writing that the play "is a standard triangular story with several cumbersome attempts to spice it up."^[5] Tim Walker of The Sunday Telegraph, however, called The Countess “a wonderful, evocative piece of theatre,”^[6] and Emma Whitelaw of indieLondon wrote that it was a “marvelous production,” calling Nick Moran's portrayal of John Ruskin “sublime.”^[7]

The Countess sparked some debate over its depiction of John Ruskin, and the resulting controversy led the New York Times to publish "A Twisted Victorian Love Tale That Won't Die Out" written by Lucinda Franks.^[8] Billington said that "Murphy takes the stock line that Ruskin was a domestic bully who pontificated about art and beauty while recoiling from living flesh", but the play gave no indication of Ruskin's radical political ideas.^[4]

Margo Jefferson, theatre critic for The New York Times in her essay REVISIONS; Lurking Behind the Victorian Propriety, Wit and Pluck.^[9] wrote: The Countess, by Gregory Murphy, reminds us of the terrifying imbalance of power between those who claim adult authority and those they treat like children ... It is a revisionist drama, since Ruskin's wife, Effie, was seen for years as one of those people who surround a genius and have no real needs, privileges or rights that he is bound to respect ... The scene in which Effie confesses [the non-consummation of her marriage] to her friend Lady Eastlake is harrowing. She thinks she has a disease that cannot be named and she can barely get the words out ... Mr. Murphy centers on Effie, and gives a full-bodied portrait of a woman who was generally seen as too worldly and shallow for such a great man. Here she is restless, quick and at odds with herself, and very much our contemporary. But The Countess does something harder, Mr. Murphy gives us a Ruskin whom we can pity as well as rage against for betraying the ideals he claimed to be teaching us.”

In 2010, The Countess generated its own scandal, when Gregory Murphy became embroiled in a protracted and very public lawsuit with actress and screenwriter Emma Thompson, who had written a screenplay Effie Gray based on the same historical events. Murphy said Thompson's screenplay was an infringement on his play and screenplay The Countess, which he claimed he had submitted to Thompson through a mutual friend in 2003 to consider the role of Lady Elizabeth Eastlake in a proposed film of his play, and to Thompson's husband Greg Wise to consider the role of John Ruskin in the play's 2005 West End production.^[10][11][12] In 2008, Emma Thompson announced that she and Wise “had written a script together about John Ruskin, the Victorian art critic, which we want to make into a film."^[13] After meeting with Emma Thompson and her producers Potboiler Productions, Murphy was offered a screenwriting fee and co-screenwriting credit with Thompson in settlement of his claim.^[13] This settlement offer was later abandoned by Emma Thompson, Greg Wise and their partner Donald Rosenfeld, when their company Sovereign Films took over production of the film and instigated the suit, creating the independent entity Effie Film, LLC, spearheaded by Rosenfeld, to litigate it. In March 2013, District Court Judge Thomas P. Griesa, after allowing Thompson to submit a second revised screenplay into evidence, from which Murphy claimed "some of the most troubling material" had been removed,^[14] ruled that while there were similarities, the screenplays were "quite dissimilar in their two approaches to fictionalizing the same historical events".^[15][16] In response to Murphy's attorney's concerns that the completed film Effie Gray would not adhere to Thompson's second revised screenplay, Judge Griesa concluded his ruling by saying that Thompson's film would not infringe Murphy's play or screenplay "only to the extent that it does not substantially deviate from the November 29, 2011 screenplay," the date of Thompson's second revised screenplay.^[17] In May 2013, Effie Gray’s Cannes Film Festival premiere was cancelled. In October 2013, the film was withdrawn from the Mill Valley Film Festival in California due to "unforeseen circumstances" according to producer Rosenfeld.^[18][19] In December 2013, Thompson said of the still unreleased Effie Gray that its "time has probably passed," comparing it to another project of hers that "didn't happen either."^[20] Effie Gray was released in October 2014, to a modest reception.^[21] Thompson plays Lady Elizabeth Eastlake and Greg Wise plays John Ruskin in the film, which they both declined to promote.^[22][23] Camilla Long reviewing Effie Gray in The Sunday Times wrote “nothing fits together” and “no one seems to know why they made this film. Where is Thompson’s passion and commitment, or any hint of what she intended to achieve.”^[24] Manohla Dargis in her review in The New York Times called Effie Gray “The cinematic equivalent of a Brazilian wax, the movie omits much of the story’s most interesting material to create something that’s been smoothly denatured.”^[25]