Kip Williams' clever one-woman show adapts the classic exploration of narcissism for the digital age.
It begins calmly enough: an empty stage, seemingly composed of a single huge vertical screen.
And we’re off to the races.
Sarah Snook in ‘The Picture of Dorian Gray’.Credit:Marc Brenner
Notably, Snook is not alone on stage.
But she balances it all with ease, with humor.
Snook gives a tour de force performance, juggling 26 characters differentiated by admirable physical and vocal transformations.
Sarah Snook in ‘The Picture of Dorian Gray’.Marc Brenner
The magic key to her performance is that indelible Snook-like quality.
She’s sly, and inviting, with an ever-twinkling glimmer in her eye.
At all times, she’s in on the joke and we’re in on it with her.
Sarah Snook in ‘The Picture of Dorian Gray’.Marc Brenner
The meticulous direction goes hand in hand with Snook’s performance and strikes a fascinating balance.
The production’s most memorable facet is its balance between the cinematic and the theatrical.
The show’s multimedia elements are at times dizzying, occasionally to the show’s detriment.
Sarah Snook in ‘The Picture of Dorian Gray’.Marc Brenner
But in its best moments, they elevate the material.
There is a dip in the story though, as Dorian’s tale progresses.
But when the scriptdoesfail, Snook offers support.
Sarah Snook in ‘The Picture of Dorian Gray’.Marc Brenner
Dorian Grayis worth seeing for the technical wonder alone, but then there’s Snook: a maniacal delight.
As fans ofSuccessionalready know, she is well-adept at playing morally- and emotionally-complex beings.
