A Modern Twist on the Faustian Theme

The Picture of Dorian Gray – Citylit Theatre

 

Paul Edwards’ world premiere adaptation of the Oscar Wilde classic continues this company’s dedication to the accessibility of the literary imagination. This is the second dramatic version of this novel created by Mr. Edwards. It remains a mostly faithful, contemporary adaptation of the late Victorian psychological horror story. Wilde’s story examines a man’s obsession with youth and physical beauty, while also offering a twist on the Faustian theme. Edwards’ rendition is set in Manhattan during the 1970’s, when  AIDS, heroin and the crack cocaine epidemic were rampant. This more modern version features a cautionary lesson about hedonism and is filled with moments of decadence and homoeroticism.

When the original novel first hit British bookstores in 1890, critics were shocked by the debauchery described by playwright Oscar Wilde. The book was widely condemned as immoral and became the tome that decent Londoners never wanted to be caught reading. Pressured to sanitize its scandalous content, Wilde removed all references to homosexuality for the second printing the following year. Wilde also introduced a new character who, in true Victorian style, attempts to kill the title character in order to avenge his sister’s suicide. Wilde also added a preface that defined art and defended the role of the artist.

In Paul Edwards’ new version of the story, Dorian Gray is a wealthy, attractive, but vain young New Yorker who has become the obsession of photographer Basil Hallward. After hours of posing for Hallward, one portrait of Gray stands out as a thing of particular beauty. Basil considers it his magnum opus and gives Dorian a life-size copy of the photo. When Basil reluctantly introduces Dorian to his affluent, older friend, Henry Wotton, the elderly hedonist becomes equally besotted by the handsome Mr. Gray. He then introduces the young man to every form of forbidden pleasure that the city has to offer.

Meanwhile, much to his friends’ chagrin, Dorian falls in love with Sybil Vane, a mediocre theatrical actress. When Dorian takes Basil and Henry to see the actress perform, Sybil’s so embarrassingly awful that Gray confronts her and breaks off his engagement. Sybil is distraught and commits suicide; and while Dorian is somewhat affected by her death, he eases his grief through a barrage of liquor, drugs and meaningless sexual encounters. But while everyone around him is either aging or dying from drug overdoses and sexually transmitted diseases, Dorian remains youthful and healthy. While locked away in a secret room, Dorian’s photograph instead shows the effects of his sins, although only Dorian is able see them.

Director Andrea J. Dymond has assembled a talented ensemble of actors to breathe life into this tale of a man bewitched and tormented by his own desire. Her cast is accomplished and fully in charge. However the production feels slow and ponderous. Partly, this is a problem of Edwards’ script. For a contemporary retelling of Oscar Wilde’s story, it’s a far too wordy and doesn’t offer much action. Ms. Dymond might’ve helped her production move along with more energy if she’d paced it better. And at times it’s Ray Toler’s unfortunate scenic design, with its many doorways and entrances, that impedes the tempo of the play. The production runs just over two hours but, in a venue that’s so uncomfortably overheated, it feels much longer.

Javier Ferreira is riveting in the title role of Dorian Gray, and his gradual degeneration toward depravity is both subtle and profound. Gabriel Fries plays Basil Hallward, the photographer infatuated with Dorian Gray. He offers a fervor that foreshadows his character’s eventual downfall. Scott Olson deliciously becomes the voice of Oscar Wilde, delivering the play’s best and wittiest lines as hedonist Henry Wotton. Ryan Leonard capably plays both vengeful James Vane and Alan Campbell, although we never see Campbell’s love for Dorian turning to horror, as Gray ultimately betrays him. As Victor, Dorian’s manservant, Stephen Rosenberger is obedient but gets to display more dramatic range as a derelict and street thug. Alyssa Thordarson, who plays every woman in this story, is especially haunting as Dorian’s love interest, Sybil Vane. However, once Sybil has killed herself, the decision to include the actress in each subsequent scene as a nameless narrator seems to be a strange choice.

Liz Cooper’s lighting design is effectively gloomy. Costumes by Patricia Roeder are appropriate to the era in which this version is set. And the icing on the cake is the playwright’s own music and sound design. They combine to add another dimension to this production. In the intimate City Lit Theatre venue, it might’ve been thought too difficult to show Gray’s portrait, as it decomposes with the character’s debauchery. But eliminating that important visual element of the story, attributing the portrait’s deterioration merely to Dorian’s mind, just felt lazy. Every time the photograph was unveiled audiences expected to see changes in it, but they were constantly disappointed.

Paul Edwards’ new adaptation of Oscar Wilde’s iconic novel has both its good and bad points. The playwright’s decision to set his play in the Big Apple during the hedonistic, pleasure-seeking 1970’s is inspired. That time and place make the story feel more timely and easier for modern audiences to appreciate. However, the production could’ve gone further in depicting that swinging era. There’s far too much talking and not enough doing; indeed, actions often do speak louder than words. Some of the technical elements don’t further enhance a production that’s paced too slowly, although credit goes to a talented cast who make the most of their storytelling experience.

Somewhat Recommended

Reviewed by Colin Douglas

 

Presented March 2-April 15 by City Lit Theater, inside the Edgewater Presbyterian Church, 1020 W. Bryn Mawr Ave., Chicago.

Tickets are available by calling 773-293-3682 or by going to www.citylit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.