A great concept that frequently becomes lost due to lack of needed clarity
DORIAN: The Musical is the brand new musical showing at Southwark Playhouse, inspired by the world renowned novel The Picture of Dorian Gray, by Oscar Wilde.
Not the first adaptation by a long shot and surely not the last. The novel centres on a man, who sells his soul in order to retain his youth and beauty, with a portrait of himself becoming the victim of his hedonism.
In this version , with book and direction by Linnie Reedman and music & lyrics by Joe Evans, the pretence is similar, but we are thrust into the world of a viral, orphaned, illegitimate, rock star who at the age of 21 is picked up by a record label and thrust into the world of sin.
From the start the production finds itself confused, we’re greeted by victorian mourners speaking in riddles, with intriguing movement choices, which aren’t echoed anywhere else in the show. As an introduction to the character we’re supposed to care for, it’s a little baffling.
The production’s aesthetic is equally confusing, with references from the 1900’s to modern day in costume design, set from the 70’s and 00’s and script references to youtube and social media. The anachronism is meant to reinforce the timelessness of the story but instead highlights the lack of clarity in the story.
The set design from Isabella Van Braeckel seems hampered by budget, with records just stuck across the back wall. We also have pictures of members of the 27 Club around the auditorium, sadly this intriguing connection to immortality and youth was woefully underpinned in the book. Braeckel was also responsible for the costumes which again pulled on mixed references, just adding to the cultural confusion rather than supporting the concept.
The cast do a good job with the material, soaring voices and abilities to play with the comedy is a delight. Particularly Gabrielle Lewis-Dodson who plays a fleshed out Victoria Wotton. Another shoutout should go to George Renshaw as Harry Wotton (who I’d love to see as Darryl in Witches of Eastwick) cruelty and sex ooze from his performance.
The music from Joe Evans has some highlights, with sweeping ballads and sexy jazz however we do feel like we miss out on a true rock number. Although the impressive guitar solo from Ashley Blasse definitely went a little way to ease the soul.
Overall the production needs to focus on what story it truly wants to tell – because the hedonism is muted, the social media corruption absent and the diversity lacking.