The Picture of Dorian Gray
The Picture of Dorian Gray by Oscar Wilde is surprisingly progressive for the 1800s. Before I get into the play itself, I think it’s helpful to break down the original story…
Dorian Gray is a stunningly beautiful young man who becomes the muse of an artist named Basil Hallward, who paints his portrait. But after falling under the influence of the cynical and pleasure-obsessed Lord Henry Wotton, Dorian wishes he could stay young forever while the portrait ages instead. He gets his wish and then spirals. As Dorian indulges in a life of vanity, and destruction, the portrait becomes more twisted and grotesque, reflecting the decay of his soul, while he remains physically unchanged. His choices lead to heartbreak, death, and even murder, including Basil’s. In the end, Dorian tries to destroy the portrait and dies instead, his body suddenly withered and aged, while the painting is restored to its original beauty.
This Broadway adaptation, directed and adapted by Kip Williams is without question one of the most avant-garde theatre experiences of the season. All 14 characters, plus a few extra one-off background roles, are played by Emmy Award winner Sarah Snook. I truly think only a handful of actors could pull off what she did, at that level.
So how exactly did Sarah play everyone???
With the help of a live camera crew on stage, Sarah not only learned the entire script but also mastered the choreography required to hit every camera angle, every cue, every spot. The show blends live performance with pre-recorded footage in a way that makes the stage feel like both a theatre and a film set. Sarah plays core characters like Dorian, Basil, and Lord Henry live on stage, while pre-recorded versions of herself as other characters appear on large floating screens. The real magic is that these versions interact with each other as if it’s all happening in real time.
And yes, she also played the narrator. She narrates the entire play while seamlessly moving between characters, shifting accents, hitting marks, and cueing the tech with her own performance. One dinner scene in particular stood out. She sat live at the head of the table while the rest of the guests, also her, appeared on the screen, perfectly timed to match her live delivery. It was wild. Huge shoutout to our tech savvy queen.
Kip Williams uses modern tech like filters, cameras, and split screens not just for aesthetic, but to dig into the play’s themes around beauty, perception, and self-obsession. At times, the filters literally distort Dorian’s face to show how fractured his identity has become. I thought that was clever.
Technically, it was impressive. Inventive, for sure, and Sarah Snook earned that Drama Desk Award!!!!
Her stamina, commitment, and ability to hold the entire production together were undeniable. I wouldn’t be surprised if she takes home the Tony this weekend. (Update: she did!)
But I’ll be honest. As much as I am glad I witnessed it, I left unsure if I felt changed by it or just overwhelmed. The production is so wrapped up in its one-woman concept with floating screens, digital overlays,, that I sometimes found myself craving human connection, an ensemble, some warmth. It felt more like a one-woman spectacle than a fully fleshed-out story. It was a lot to take in for Broadway. There’s even a printed director’s note in the Playbill explaining the choices, which I actually found interesting and rare.
With more thought, perhaps ‘returning to the ancient storytelling form’ as Kip stated was a good idea because it also comes off self-indulgent which Dorian absolutely is. Regardless, it’s one of those shows you’ll be glad you saw, even if you’re still unpacking how you feel about it on the way home.
The Picture of Dorian Gray is on Broadway now until June 29th. Go check it out and let me know what you think!
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