Dorian: The Musical, with music and lyrics by Joe Evans and a book and direction by Linnie Reedman, presents a bold, contemporary adaptation of Oscar Wilde’s classic novel 'The Picture of Dorian Gray.' This modern take on the story explores themes of self-identity, obsession and fame, while underscoring elements of gay sex and drug use that Wilde’s 1891 novel could only hint at due to the societal constraints of the time.
The narrative follows Dorian (Alfie Friedman), reimagined as a bisexual rock star who sells his soul for fame in a world of heightened sexuality and drug-fuelled excess. In this version, the character of Basil becomes Baz (Leeroy Boone), a photographer whose image of Dorian ages instead of Dorian himself. Lord Henry is now Harry (George Renshaw), a charismatic and dangerous record producer, with his wife Victoria (Gabrielle Lewis-Dodson). Completing the cast is Sibyl (Megan Hill), the actress whom Dorian loves and ultimately drives to suicide.
The musical follows Dorian's journey as he attempts to escape his scandalous past and find acceptance. Baz, infatuated with Dorian, offers to paint his portrait, leading Dorian into the hedonistic world introduced by Harry. Enthralled by the promise of eternal youth, Dorian trades his soul, and while he remains perpetually young and beautiful, the portrait reveals his true, corrupted nature. Despite his unending youth, Dorian is left unfulfilled and empty.
The cast delivers a generally average and uneven performance, with the characters often feeling lifeless. The relationships between characters lack chemistry, making the interactions feel awkward and unconvincing, which might be due to the shortcomings of the book. However, vocally, the performers shine, with each having moments to stand out. Highlights include Friedman’s “I’m Going to Live Forever,” capturing the naive ambition of youth, Renshaw’s haunting “Where the Yellow Roses Grow,” and Lewis-Dodson’s poignant “It’s Different This Time.”
One of the show’s major weaknesses lies in the disconnect between the book, lyrics, and music, resulting in a jarring and sometimes confusing experience. The thematic exploration of coming-of-age is present but is often undermined by the disjointed flow of the musical numbers, which do not always sync with the action. The second act flows better than the first, with more of the drama unfolding. This is also where Korina Kokkali’s choreography comes to life, adding beautiful moments that adds a breath of fresh air to the characters.
Under the musical direction of Aaron Clingham, the three-piece band delivers rock-infused, dark, and haunting melodies, contributing to the musical’s edgy and decadent world. Where the production shines is in its design by Isabella Van Braeckel, featuring a two-level set with hanging guitars, vinyl records, and pictures lining the auditorium. This effectively underscores the recording studio setting and places it in a gothic, bohemian world. The costumes are genderfluid, sexy, and aesthetically beautiful, combining Victorian and gothic motifs to add a visually appealing layer. Complementing this is the lighting design by Adam King and Tyler Forward, which balances the sleazy underbelly of the rock and roll world with theatrical elements, creating a visually captivating experience.
Dorian the Musical is a creative and ambitious adaptation with much potential. However, it lacks grit, danger and soul for it to be truly compelling. While there are moments of brilliance, the production ultimately lacks the cohesion and emotional depth required to fully engage the audience. This irony, given the story's themes, leaves the show feeling somewhat unsatisfying despite its bold attempt to contemporise Wilde’s classic tale.
Dorian: the Musical plays at the Southwark Playhouse until 10 Aug. For information and tickets, follow the link here.
⭐️⭐️⭐️ (3*)
Gifted tickets in return for an honest review | photography by Danny Kaan
Comentarios