October 19, 2011
The lights dimmed on the stage as an eight strong chorus of elegantly costumed male and female actors took to the stage and surrounded an empty picture frame. A hush of intrigue encapsulated the audience as the lights grew brighter, The Picture (Ziad Samaha) took his place and struck a pose, and the narrative began.
And so it was that within ten minutes the strengths and flaws of Cut Out Star’s production of The Picture Of Dorian Gray were laid bare for all to see.
Much like its epnymous protagonist, the stage was unblemished, well presented, and stylish – an impressive, rich, functional design which lent the production a polished appearance and raised expectations of all that would follow.
Adapted from Oscar Wilde’s much loved novel, by co-directors Lucinda Dawkins and Adam Scott Taylor, the script was unrelentingly pithy and unashamedly camp, but served more as a reminder of how witty a wordsmith Wilde was rather than focusing on the debatable strengths of his storytelling.
Dorian Gray is an intriguing character and the concept of his existence is the driving force of the story. But because he is by nature disconnected and unnatural it takes a skilled actor to bring empathy to the role. Though Jamie McDonagh failed to entirely convince us of Dorian’s psychological journey, on the occasions when he was restraining rather than forcing his emotions the play seemed instantly more interesting. The most notable of these occasions was one of the plays more biting lines when he informs his supposed lover Sybil, ‘You’re a third rate actress with a pretty face. I don’t mean to be unkind…”
Supporting actors, Henry Faber (Basil), Jordan Waller (Lord Henry) and Nouran Koriem (Sybil) also on occasion showed moments of true emotional depth, but they too ultimately struggled against the play’s prevailing air of melodrama.
Thankfully, the inclusion of a Chorus worked especially well and as their seamless incorporation into scenes grew more physically abstract and vivid, their vocals grew increasingly haunting and their onstage presence grew increasingly necessary.
In conclusion, rather than caring about any of the central characters, or being carried along by their seemingly endless array of witty exchanges and beautifully constructed monologues, my continued attention relied increasingly on the consistently inventive and engaging choreography and vocal work featured by the chorus.
And so it was that within ten minutes the strengths and flaws of Cut Out Star’s production of The Picture Of Dorian Gray were laid bare for all to see.
Much like its epnymous protagonist, the stage was unblemished, well presented, and stylish – an impressive, rich, functional design which lent the production a polished appearance and raised expectations of all that would follow.
Adapted from Oscar Wilde’s much loved novel, by co-directors Lucinda Dawkins and Adam Scott Taylor, the script was unrelentingly pithy and unashamedly camp, but served more as a reminder of how witty a wordsmith Wilde was rather than focusing on the debatable strengths of his storytelling.
Dorian Gray is an intriguing character and the concept of his existence is the driving force of the story. But because he is by nature disconnected and unnatural it takes a skilled actor to bring empathy to the role. Though Jamie McDonagh failed to entirely convince us of Dorian’s psychological journey, on the occasions when he was restraining rather than forcing his emotions the play seemed instantly more interesting. The most notable of these occasions was one of the plays more biting lines when he informs his supposed lover Sybil, ‘You’re a third rate actress with a pretty face. I don’t mean to be unkind…”
Supporting actors, Henry Faber (Basil), Jordan Waller (Lord Henry) and Nouran Koriem (Sybil) also on occasion showed moments of true emotional depth, but they too ultimately struggled against the play’s prevailing air of melodrama.
Thankfully, the inclusion of a Chorus worked especially well and as their seamless incorporation into scenes grew more physically abstract and vivid, their vocals grew increasingly haunting and their onstage presence grew increasingly necessary.
In conclusion, rather than caring about any of the central characters, or being carried along by their seemingly endless array of witty exchanges and beautifully constructed monologues, my continued attention relied increasingly on the consistently inventive and engaging choreography and vocal work featured by the chorus.