The opera, Morrison's first, is based on the life of Oscar Wilde, focused on his trial and imprisonment in Reading Gaol.

Upon learning that Morrison had never composed an opera, but wished to write one for Daniels, Cox encouraged that idea.

This led to correspondence between Cox and Morrison, and an agreement to collaborate on an opera based on the subject of Oscar Wilde.

Bosie's father, the Marquess of Queensbury, has hired two detectives to warn hoteliers against providing lodging to Wilde.

She expresses her feeling that Wilde should ignore Bosie's advice, given out of fear for his father, that he should stay for the sentencing rather than flee to France.

Wilde is reluctant, but Leverson and Harris think that they have persuaded him, and tell Leggatt to send a message to the yacht owner.

Scene 1: Inside Reading Gaol Whitman is on stage, asking the audience to identify with the prisoners and their plight.

Wilde is examined and made to dress in prison garb, taken to his cell, and given the crank which he is obliged to keep turning uselessly.

One prisoner speaks kindly to Wilde, who is touched, as it is his first sympathetic human conduct since arriving in the gaol.

The two prisoners and Martin sing a music hall number, "Burlington Bertie", in which Wilde joins at the final lines.

The prisoners recite lines from the Ballad, whilst Death (in the form of the Dancer) leads them to their lowest point of despair.

Scene 5: The prison's visiting room Harris has arrived with good news for Wilde, whom Martin brings in.

Harris' advocacy through his newspaper has resulted in the replacement of Isaacson and Wilde being allowed to have books and writing materials, as well as work in the prison garden rather than the punishment of the cranking.

As Martin escorts Leverson out, Bosie appears upstage and dances towards Oscar, who reads from his 1881 poem, "Glukupikros Eros": "Sweet, I blame you not, for mine the fault was, had I not been made of common clay..." They embrace.

Wilde addresses the Immortals and the audience with a line from his first play Vera; or, The Nihilists:[2] The director of the premiere production was Kevin Newbury.

Reviews of the opera's premiere generally praised the singers, the orchestra, conductor Evan Rogister, and the overall production values.

[12] The Opera Philadelphia performances featured the same singers in the lead roles, the same director and production design team, and the same conductor as in Santa Fe.