Mois? s Kaufman's hit play Gross Indecency: The Three Trials of Oscar Wilde re-presents Wilde's most theatrical spectacle for modern-day audiences. This documentary drama, like Kaufman's more recent Laramie Project, arranges research materials into staged exhibition. Concern for sound representational practices led Kaufman to struggle, as he relates, for a method that would do justice to his subject:"[H] ow," he asked himself," can theatre reconstruct history?" The form of the play itself, finally, became" an attempt to deal with" historiographi cal and ethical" questions." 2 Above all, he worried about imposing his individual, postmodern-era views onto historical material, and suppressing diversity of perspec tives on the originary events. His solution was, thus, to assemble a script wholly from others' words, excerpted from already-extant research documents, adding to this only an interview with a current-day Wilde scholar. Further, he decided against traditional realist structures, choosing instead a format in which re-enacted trial scenes, readings aloud from research documents, and cameo appearances by actors playing historical figures are patchworked together. Through these measures he hoped to present a more complex and less limiting portrait than more simplifying, totalizing conventional forms might permit. Despite? or even paradoxically due to? Kaufman's representa tional scruples, these objectives fall short of succeeding. As I will discuss, the play champions Wilde's side while re-endorsing the conceptual premises Wilde dedicated his oeuvre and life to fighting against.