Review: The Picture of Dorian Gray (Watford Palace Theatre)

Review by Angel Nield

⭐️⭐️⭐️⭐️

Oscar Wilde’s The Picture of Dorian Gray has been performed so many times in almost every art form in existence, it’s easy to forget that it started its life as a Victorian Gothic horror novel. Adapted into over a dozen films and ten theatrical productions, including Kip Williams’ radical one-person show starring Sarah Snook, which graced the West End in 2024, it would be easy for Seán Aydon’s adaption, playing at the Watford Palace Theatre, to fall into the trap of becoming another copy-paste play. Although conventional, this new production stays true to its source material and feels all the more timely, given the current obsession with eternal youth and de-ageing.

First published in 1890 as a social commentary on Victorian London, the eponymous character, a wealthy young man and the muse of portrait artist Basil Hallward, becomes completely enamoured with hedonistic socialite Lord Henry (Harry) Wotton. With the awareness that his beauty will fade over time, out of fear Gray impulsively sells his soul for his portrait to bear ageing rather than himself. His wish granted, a lifetime of immorality while staying young and beautiful ensues; all the while, his portrait ages and becomes a visual record of every one of his sins.

Wilde’s original novel features some of the most beautiful poetic language which translates exceptionally well to the stage, and this adaptation is no exception. From Harry’s cunningly manipulative propaganda speeches as he sells his lifestyle as the ultimate pinnacle, to Gray’s gradual descent into madness, it’s very clear how the corruption of society has ample opportunities to welcome offbeat innocence that will eventually curdle into heartless narcissism.

Striking a delicate balance between black humour and powerful intensity, Aydon’s direction really leans into the darkness of the source material. Sprinkled throughout with witty interplay (“the only difference between a fling and a lifelong passion is that a fling lasts a little longer”) and fourth wall break about audience quality add some light relief to an otherwise Gothic horror story, of which there is plenty to like. A particular strong point is the first realisation that Gray’s wish came true, which acts as the ending of the first act. The use of lighting and sound effects to create the illusion of thunder cracks as the portrait is revealed to have deteriorated for the first time, really adds a clever visual to the concept of the cracks in society being revealed. In addition, the unsettling ending picture of the final form of Gray being revealed to the audience as the departed characters look on invites the audience to go away thinking about how much someone’s exterior can hide their true inner workings.

Described and discussed at length long before he makes an appearance, the almost over-anticipation of Jack Crumlin’s Gray is well worth it. Tall, striking, chiselled and shredded to the max under a simple costume of a white shirt and dark trousers, Crumlin captures the demise from boyish charm to self destructive chaos through triumphant self assurance and confidence, portraying every facet of such a complex character entirely through his outstandingly expressive face. He is supported closely by a seven strong ensemble, many of whom cover a number of roles with gusto. A particular standout is Mark Hawkins as Lord Henry Wotton, whose captivating manipulation of Gray rather emulates that of Nazi propaganda, full of conviction, menace and intelligence.

Mark Oxtoby’s Basil serves as a rather necessary foil to the aforementioned gentleman, and you really feel his desperation as he attempts in vain to save Gray from his own fate. The female characters, played by Ayesha Griffiths, Lydia Whitehead and Lydea Perkins, are all exceptionally well delivered within the depths of the script, although felt slightly two dimensional at times due to the sheer volume covered within two and a half hours leaving room to be desired in terms of fleshing out the supporting characters. 

High praise indeed must be given to the creative departments, from set design by Sarah Beaton, lighting by Peter Small and sound design by Russell Ditchfield, all of which work in harmony to contribute greatly to the unsettling atmosphere of deteriorating decadence. Beaton’s handsome yet simple set design, centred around a patina of large mirrors that partially reflect the action below, a piano, an artist’s workstation and a chaise-langue gives the impression of luxury and lavishness, yet the sublime choice to light this in dim Newton bulbs really creates the image of Gray’s world deteriorating more the further he departs from humanity. However, some elements felt inconsistent with the Victorian period setting, in particularly some of the more modern scientific instruments in Dr Campbell’s morgue and the strange choice of blouse and tailored trousers for both Catherine Vane and Lady Wotton, which unfortunately leads to contradictions and waters down the beauty of the otherwise impeccably beautiful universe. 

The infamous ‘picture’ is a dusty mirror in an elaborately gilded frame, a clever choice which invites the audience and the characters to envision for themselves Gray’s increasingly corrupted portrait as a window unto his soul itself. A unique move which pays off impeccably, it is this production’s perfect blend of the explicit and the implicit, manifested with the suggested, is its greatest triumph. A deliciously chilling night of aptly timed social philosophy, best served with a side of sublime intensity. 

The Picture of Dorian Gray plays at Watford Palace until 3rd October, before touring until 7th November.

Tickets avaliable at https://www.tiltedwigproductions.com/book-now 

Photos by Mark Senior