There is a disturbing, confronting premise to Oscar Wilde’s brilliant novel THE PICTURE OF DORIAN GRAY. A conceited, vain, celebrated young man, Dorian Gray makes a pact with the devil so that he is able to stay forever young, and in return the brilliant portrait that a famous artist has painted of him must deteriorate and go to pieces.
Oh…the yearning to stay young….to try and ward off the ageing process as much as one can…. It’s a longing that we can all relate to. Whilst Wilde’s Dorian Gray is pretty much a creep, we can’t help but identify with his fears and insecurities.
As per the show’s title, the current production at the Genesian Theatre is a theatrical re-imagining of Wilde’s great work. So great to see this inner-city Company supporting interesting, experimental work like this. Even better this new work has come from the pen of local playwright Nathan Farrow, in collaboration with director Stephen Lloyd-Coombs.
Straight off, let me tell you that this is an adventurous radical transformation/departure from the original work. The whole dynamic has changed. Dorian Gray is a devilishly handsome young film actor. A well filmmaker, the ‘updated’ version of Basil, has shot a movie featuring him, besotted by his beauty and charisma.
The pact that he makes sees him stay forever young with the penalty being that the brilliant movie slowly, mercilessly decays into a kind of oblivion. Gray surrenders the immortality of celluloid for eternal youth.
Farrow’s play starts with a mock television interview with Basil being interviewed about his film by none other than the updated Henry character, a suave, hedonistic journalist who spent a lot of time in Gray’s company. Both Henry and Basil have very mixed feelings about the charismatic Gray.
My verdict on THE PICTURE OF DORIAN GRAY REIMAGINED as a play with the understanding, as per the theatre program, that it is a work in progress. It was a intriguing, engaging theatre. It did feel too dense and too clever by half at times and might well work better with a more direct dramaturgical approach. Definitely there’s potential in this work that other theatre companies might like to explore. Hopefully this is the case.
Stephen Lloyd Coombs production was very entertaining. His choice to present the play in a relaxed, semi-formal way such as in the way that main actors made their entrance to the stage from the back of the theatre with plenty of by-play worked well.
Coombs’ creative team carried out accomplished work. The frequent use of multi-media through the show worked without a hitch.
Most impressive was a talented troupe of eight performers who do their very utmost to make this first presentation of the play a special experience.
Michael Yore gives a very assured performance as Dorian. Martin Portus impresses as the hedonistic Harry and gets to deliver plenty of zingy Wilde one-liners. Richard Mason comes across very credibly as the arty filmmaker.
Ellen Wiltshire is a delight as the vivacious Sybil who breaks Dorian’s heart. Emilia Stubbs Grigoriou impressed as Dorian’s other flame, the more smoldering, intense Allison. Rounding out the cast were Louis Cummings as Jim, a very perky Jimmy Bai as Ash, and Anne Geenen was quirky and engaging in multiple ‘bit’ roles.
Well worth checking out, Jasper Garner- Coombs’ production of Nathan Farrow’s stage adaptation/re-imagining of Oscar Wilde’s novel THE PICTURE OF DORIAN GRAY is playing the Genesian Theatre, 420 Kent Street, inner city until Saturday 19th March. Bookings and further information:- www.genesiantheatre.com.au.