Stage: I'm gonna live forever

Dorian: The Musical
music & lyrics Joe Evans
book & direction Linnie Reedman
with Alfie Friedman, Gabrielle Lewis-Dodson, George Renshaw, Leeroy Boone, Megan Hill, Rhys Lambert
choreography Korinna Kokkali • lighting Adam King
sets & costumes Isabelle Van Braeckel • sound Mike Thacker
Southwark Playhouse, Borough • 4.Jul-10.Aug.24 ★★★

Adapting Oscar Wilde's classic novel The Picture of Dorian Gray for the social media age, this new musical comes with a heavy dose of gothic design, arch drama and rock opera-style songs. It feels strangely constrained by the small theatre space in the large room at Southwark Playhouse, and the direction doesn't properly take into consideration the fact that two-thirds of the audience must watch the backs of characters' heads during momentous conversations, simply because they don't move. But this mixed bag is sold by the gifted cast, who properly pour themselves into their roles. Their singing is often impressive. And the show looks properly lush.

While the florid set and costumes reside in a parallel 19th-meets-21st century universe, the story and dialog have been cleverly updated to the present day, offering telling new insights into Wilde's vivid themes. It's a fable about artistic ambition and the quest for eternal youth, as young Dorian (Friedman) begins to go viral with his music, then is promoted by publicist Victoria (Lewis-Dodson) and literally immortalised by photographer Baz (Boone). But he makes a bargain with the devil, remaining youthful as a picture in the attic begins to reveal Dorian's twisted soul. He also discovers he is unable to love, despite crushes on both opera singer Sibyl (Hill) and his music producer Harry (Renshaw).

Lewis-Dodson & Friedman

Sex, drugs and violence feature along the way, played out in stylishly choreographic ways, but nothing quenches the longing in Dorian's sold-out soul. Embellished with layers of colour, patterns and tactile textures, everything is achingly picturesque, lit up in strikingly vivid hues to match a range of power ballads. And the actors ripple with charisma. Lewis-Dodson has the strongest voice, gloriously belting out her numbers while giving Victoria an enjoyably sarcastic tone. And Hill delivers beautifully in two intertwined roles. Meanwhile, Friedman, Renshaw and Boone look gorgeous and fill their songs with yearning emotions that we can clearly see, even if the lyrics never quite let us in.

Friedman & Renshaw

There is real power in Wilde's story, and it adapts very nicely to the social media setting. So there's a lot to like in this production. The way everything is positioned at the point between heaven and hell, angels and devils, love and death, is fascinating. But the show's staging undermines its impact, distracting us with heightened design elements and awkward in-the-round angles. The clever Club 27 references don't quite work as written here, because they oddly undermine the effect of the passage of time. And because the songs lack hooks, they never quite catch hold. That said, there's passion surging through this adaptation, and the actors bring the larger messages home with a kick.

Friedman & Boone

Hill

For information, SOUTHWARK PLAYHOUSE >

photos by Danny Kaan • 10.Jul.24