How far would you go for eternal youth and beauty? Would you sell your soul?
Well, you can see just how well that worked out for Dorian Gray in Sock ‘n’ Buskin Theatre Company’s stage production of The Picture of Dorian Gray.
Directed by Teresita Thorne, Sock ‘n’ Buskin’s interpretation of Oscar Wilde’s classic 1890 novel ended the production company’s 2024-2025 season on a high note. It ran at Carleton’s Kailash Mital Theatre from March 20 to 23.
Introduced to a vain, self-indulgent life by Lord Henry Wotton (Rory Woodland/Bo Doyle), Dorian Gray (Archer Malloch) makes a Faustian bargain to preserve his youth and good looks. As he leads a life of increasing hedonism and vice, he is haunted by the physical manifestation of his corruption in a portrait of himself painted by his friend and admirer, Basil Hallward (Sabine Duknic/Zachary Miller).
Adapted to the stage by Robert Kauzlaric, this fresh take on the cautionary tale is narrated with brutal hindsight by elders who, in their youth, cared about Gray.
As influencer and constant companion, Bo Doyle and Rory Woodland both embodied Lord Henry Wotton with the careless confidence and extravagance the character deserved. While Woodland’s Wotton was more aptly sombre with age, their stage presence was just as magnetic as Doyle’s younger, more energetic portrayal. Wotton’s generally affronted mannerisms were amusing, and both actors delivered the character’s well-known paradoxes and aphorisms with a natural, enthralling charm.
This particular production of The Picture of Dorian Gray was an immersive and authentic representation of the novel. The show balanced themes of influence and obsession, while also embracing the queer undertones of the play, in line with several modern adaptations.
As well, the simple and creative technical designs were not only visually stunning but emotionally impactful. In death scenes, the set’s lavish drapery was thrown into darkness as characters walked through ghastly white light from the middle of the set in a shining arch.
Stage light manipulation also effectively mirrored Gray’s emotional state. Muted, cascading hues on Gray in the first act gave way to harsh, unnatural greens and purples near the play’s end, adding a graphic horror to Gray’s spiralling behaviour.
Another highlight of the production was its strong, engaging act openings. Flickering lamps and streetlights, fog machines and a hint of modern music sucked audiences into the second act and amplified the gothic estheticism that The Picture of Dorian Gray is famous for.
As curtains reopened, the distorted guitar of Ethel Cain’s “Punish” perfectly reflected the more sinister and reckoning tone of the play’s latter half, creating a pulsing sense of dread for the inevitable tragedy to come.
However, technical elements could sometimes overpower. While rushed lines and loud background noise emulating London’s hubbub may have at times pulled audiences out of the story, the cast quickly recaptured their attention with otherwise captivating performances.
Archer Malloch’s portrayal of Gray accurately transitioned between the character’s initial innocence and later obsession. When trying to justify himself through twisty monologues, his gleaming eyes and a manic, unstable edge to his voice contributed to the play’s harrowing and pulse-racing atmosphere.
Emotionally compelling performances also captured the ravaging effects of influence and obsession. In particularly emotional outburst, Zachary Miller cried out in grief while smacking the floor when their usually easy-going character realized how far gone Gray was from the man he had originally painted.
Aside from any individual acting prowess, the chemistry between the characters’ younger and older selves was immersive. Cast members shared similar, minute mannerisms — rubbing at bum knees, keeping their arms crossed behind their backs or even moving concurrently when on stage together. This practiced synchrony between pairs was impressive and made the world built by Kauzlaric’s narrative come alive.
Complete with consistent and distinctive English accents, the cast and crew of The Picture of Dorian Gray ultimately created an immersive production that fully dove into the play’s deeper themes and thrust audiences into Wilde’s 19th-century England.
Featured image provided by Sock ‘n’ Buskin Theatre Company.
