The RGS Gazette The Arts 30 Issue 12 July 2024 'The Picture of Dorian Gray': A Review To play just one character in a West End production is a task not to be scoffed at, and yet Sarah Snook takes on the mammoth task of playing 26 different characters in a “reimagined” production of ‘The Picture of Dorian Gray’. The production uses modern technology to bring Victorian melodrama into the 21st century seamlessly – with Snook interacting with the various cameras and screens to bring her multiple characters to life. Questions that Oscar Wilde was asking 200 years ago still feel relevant and discussionworthy with Kip Williams’ modern take, with themes of morality and vanity explored effectively by the production. Despite the obvious constraint of a one woman play, Snook seems to revel at the opportunity to bring to life a multitude of different characters, of various ages, genders and class, doing so with great conviction and range. Most known for her role in ‘Succession’, it easily could have been too great a step up for Snook’s acting capabilities (having played a singular role for many years) to jump to a part in which she must be both the witty and charming Lord Henry and the beautiful, yet aptly named, Sybil Vane. Yet she skilfully and confidently uses each character, having lighthearted and witty conversations, often with herself, much to the amusement of the audience while moving gracefully across the stage – using it purposefully and with the poise of a woman not new to the daunting arena of the West End. But is theatre becoming too pretentious? Is this art form becoming too fanciful for its own good? In reality, does the onewoman aspect of the play act as a mere gimmick, or does it truly elevate the play to a more refined level – something that Kip Williams invariably is aiming to achieve. "she adopts a quivering, shy personality when playing Basil Hallward" Her character switches deserve recognition though she adopts a quivering, shy personality when playing Basil Hallward before swiftly stepping into a smoking jacket, elegantly smoking a cigarette lit by one of the many producers helping Snook’s smooth transitions. She breaks the fourth wall whilst remaining in character, scoffing at the audience, while interacting with previous recordings of herself and yet does so without an air of pretentiousness and keeping the audience engaged and hanging off every word. Snook effectively explores the debasement of Gray’s character, shining a light on morality – it becomes apparent on her face that grows grotesque and gnarled come the end of the production. The agency and passion with which she acts is admirable and extremely evident, she runs breathlessly through scenes and seems to pour her soul into the performance. The act is highintensity and full of energy throughout and must be commended. Snook’s daring acting is sure to divide opinion, but I believe it stays just on the right side of being artificial – remaining bold and not overambitious. Henry Day (Year 12) reviews Kip Williams' critically acclaimed production of Oscar Wilde's novel Sarah Snook as Dorian Gray (2024) Snook breaks the fourth wall (2024)
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