‘The Picture of Dorian Gray’ review
‘The effectiveness of this production in dealing with such revered source material in a creative and impressive way is a true testament to the talent and dedication of those involved’
Set in the moral murkiness of late 19th-century London, Pitch Productions’ The Picture of Dorian Gray contemplates the darkness hidden beneath Victorian sensibility when sin bursts from the confines of morality. The virtue of youth and beauty that torments Dorian Gray impresses upon the audience the shadows lurking in the most bright and beautiful places, awoken by the corruption of innocence. This haunting Gothic classic is the perfect Halloween production and stands its ground with such hallowed source material.
The deep and luxurious darkness of Oscar Wilde’s masterpiece provides ample inspiration for Director Iris Varla, something she makes full use of in her interpretation of not only the personal torment of Dorian, but also the symbolic moral struggle between sensibility and sensuality. The vision of the creative team is well executed by Production Manager Lucy Smith, creating a tense yet alluring atmosphere that underpins the masterful work of the cast. The value of Rory Collins’ set design must also be highlighted, with the use of space literally opening up the play to new depths and dimensions, contributing to the efficacy of its narrative. The lighting design by Leyla Aysan Montoya is similarly instrumental, drawing focus to Dorian’s moments of tormented contemplation and the locus of such angst: his portrait. In fact, this production’s tremendously creative handling of the portrait itself must be celebrated for its impact, leaving the audience in suspended anticipation due to its undepictable nature, impressing upon us the absolute tragedy of Dorian’s fall from grace.
Such tragedy would of course not be possible without the masterful angst of Raphael Henrion, whose portrayal of Dorian is imbued with such sensitivity and fervour that anticipation creeps up on the audience for the inevitability of his fate. Dorian develops from the softly spoken and impressionable young gentleman of the first scene into a corruption of innocence in the second act, all with a new vigour bursting from him – even the softness of his voice is lost to cruel sharpness. Throughout such a transformation, there is continuity in Raphael’s commitment to Dorian’s angst; something which seems to have no respite.
Such an infamous tale of depravity would not be complete without its corrupting force, something executed by Emilia Lewis with the utmost precision, who perfectly encapsulates the frustrating contrarianism and sinister attention of Lord Henry. The haunting and recurring promise to “always be friends” with his dear Dorian feels distinctly like a curse, chaining his young friend to the temptation of hedonism that will never cease calling to him.
Attempting to provide balance to such poor influence is the tender painter Basil Hallward, whose sensitivity deepens into anguish at the realisation of his contribution to Dorian’s demise. Such sensitivity is immediately apparent in Harvey Hill’s presence on stage, reacting to the larger-than-life company that Basil keeps, hinting to the audience the inevitable tragedy unfolding around him. The first scene was particularly striking to me, since it felt like an unmistakeable goodbye. Hill presents Basil’s awareness of the beginning of an end powerfully and this interplays particularly well with Lewis’ callous and dismissive Lord Henry. Such conflicting voices underpin the narrative of the play, continuing their conflict within the confines of Dorian’s tormented mind.
The entire cast collaborate wonderfully to embody the torment inherent in the play, both through the creation of a moral malaise in London’s high society, and in repercussions of this that spread outward. These repercussions are perhaps felt most strongly by Sibyl Vane, who is portrayed in all of her tragedy by Rhiannon Morgan, taking on an important role that fuels the narrative. Another key performance is that of Lilly Wonders, who plays the dichotomous roles of the Duchess of Harley, the embodiment of Victorian high-society, and Alan Campbell, a man who lives under the thumb of the very same institution. The tireless and multifaceted performance of this cast produces a powerful production, imbued with conflict, corruption, and consequence that echoes through Victorian and present society.
Special mention must of course go to the costume design of Shade Bannigan Davis, whose use of colour and fabrics symbolises the unique situation of those that wear them, be it a life of innocence or indifferent cruelty. In fact, this exemplifies the seamless work of the entire production team who have managed to create an atmosphere that works in fluidity with the themes and narrative of the the play, if a little obvious at times, but the creative use of colour and light were of particular impact and cannot go without mention.
Pitch Productions’ The Picture of Dorian Gray is a creative yet classical interpretation of one of the finest pieces of Gothic literature, fusing themes of depravity and sensibility to anticipate its tragedy. The effectiveness of this production in dealing with such revered source material in a creative and impressive way is a true testament to the talent and dedication of those involved. I hope all of them are immensely proud of what they have achieved.
By Amelia Greenwood.