Everything Theatre Reviews, interviews and news for theatre lovers, London and beyond
An uneven production which resembles a 1920s murder-mystery party.Summary
Rating
Ok
Oscar Wilde’s novel, The Picture of Dorian Gray, is the story of a Faustian bargain. Dorian Gray, an extraordinarily beautiful young man, is terrified to grow old. The artist Basil Hallward, who admires Dorian to the point of obsession, paints his portrait. Dorian, horrified to realise how fleeting his youth is, declares that he would trade his soul to remain young, and for the portrait to grow old in his place.
His wish is mysteriously granted, and Dorian embarks upon a life of hedonism and debauchery, yielding to every temptation. He falls under the pernicious influence of Lord Henry Wotton, who dispenses classic Wilde aphorisms on beauty and pleasure-seeking. Dorian destroys lives with his selfishness, cruelty, and sickening sexual appetites, but he looks as young and innocent as ever. Meanwhile his portrait becomes hideous and deformed: reflecting the ugliness of Dorian’s soul. The novel was heavily criticised by reviewers at the time, with The Daily Chronicle calling it, “unclean”, “poisonous”, and “heavy with the mephitic odours of moral and spiritual putrefaction”.
This immersive adaptation, at the fantastic CRYPT venue in Bethnal Green, has none of the seductive sinfulness or blurry homoeroticism of the novel. There is misbehaviour for sure – murder, drug use, blackmail, and the rest. But the overall impression is sexless and earnest, and resembles a 1920s-themed murder mystery party more than anything else.
And it is a party: the mysterious and sinister Mister B welcomes us to “the Crypt Club” on entry, and the bar is open all night. Mister B ushers the audience from room to room, where parallel scenes unfold against a backdrop of antique furniture, discarded letters, half-finished paintings and spare dresses.
The Picture of Dorian Gray must be a difficult novel to adapt for immersive theatre. It lacks overlapping threads and interlocking storylines, but follows its protagonist fairly loyally. The creators have invented new plotlines to fill the gaps, and attempt to flesh out the motivations of fairly peripheral characters, but these additions fall flat.
The flatness of the new writing is combined with uneven acting, with some performances being very strong and others totally unconvincing. Nadia Lamin cuts a powerful figure as Lord Henry’s wife Victoria, glamorous and self-assured. It’s a shame that she is let down by thinly drawn characterisation and an uninspiring, drawn-out storyline.
Harry Harding plays Henry as straightforwardly evil, bringing a camp Bond-villain flair to the role. This overt malevolence is a far cry from the ironic detachment and wry lightness of Wilde’s character.
There are some difficulties with pacing: some events unfold too quickly for the audience to process, while others drag on interminably. The story spans decades, but this is not made clear until it becomes pivotal. Although Dorian remains youthful, none of the other characters visibly age either: some grey hairspray among the rest of the cast would not go amiss. And the final scene, which could have been shocking and pitiful, is instead merely confusing.
Despites its flaws, this production has a unique and delightful atmosphere. It’s fun. Immersive theatre at the CRYPT, in my view, is one of the best theatre experiences available. Audience members can stretch their legs, grab a drink, or use the bathroom whenever they please. The actors have to improvise, especially when audience members behave unexpectedly.
With freedom to move around, the audience can vote with their feet. If a scene becomes uninspiring, you can always follow in Dorian Gray’s footsteps: walk away from your obligations, have a drink, and enjoy the party.
Directed by: Nicholas Benjamin
Immersive Picture of Dorian Gray plays at The Crypt Gallery until 29 April. Further information and bookings can be found here.
