Barn Theatre at Home – until 31 March – book via https://www.pictureofdoriangray.com/
5*****
Reviewed by Claire Roderick
Oscar Wilde’s classic has been modernised with scintillating style by Henry Filloux-Bennett and Tamara Harvey. Building on the success of What a Carve Up! they have managed to finesse their storytelling even more to create this digital fable about the stark differences between online image and reality.
Gray is already dead when the story begins, with Stephen Fry’s interviewer trying to find answers explaining his death from those remaining that were close to him – Joanna Lumley as Lady Narborough and his best friend Harry Wotton (Alfred Enoch). Alongside these interviews, YouTube, TikTok and FaceTime clips show the pivotal interactions between the characters. Director Tamara Harvey uses all these elements effortlessly to create a seamless film that lets the narrative flow with a driving energy. Dorian Gray (Fionn Whitehead) is a student from a privileged background, but during the first lockdown he is stuck in his student accommodation and begins a gentle vlog about books with a handful of followers. When lockdown ends and Lady Narborough throws a birthday party for Dorian under the guise of a fundraising event, his life changes as he meets Sybil Vane (Emma McDonald) and is offered a gift by Basil Hallward (Russell Tovey) – a software designer in this version. Instead of a painting, Dorian is given a filter that makes his online image perfect and attract followers. The unique social problems experienced over the last year, the dangers of only finding affirmation and contact from online likes and followers which can change in an instant to vicious trolling is the perfect modern background for Filloux-Bennett’s versions of Wilde’s characters.
His intense developing relationship with Sybil distances him from Harry and Basil, but their attraction to him, and his power over them (which Dorian seems to have always been aware of) never fades. Sybil is introduced singing a song that has a spellbinding effect, and her TikTok videos performing Shakespeare, poetry and iconic film scenes make you want to see much more of Emma McDonald – her final devastating scene – her note to Dorian – is simply stunning. Dorian’s cruelty and abandonment of Sybil when she needs him most is horrifyingly believable as his only concern is what it means for him and you realise that their relationship had all the warning signs of abuse.
Dorian’s spiral into depravity is related by Harry and Lady Narborough as rumours they have heard, but the disfiguring effect on his body is portrayed graphically. As we hear tales of drug and sexual abuse, and his seemingly responsible stance of never going out unmasked, the warm ethereal glow of his online videos and his soft-spoken approach sugar coat the increasingly dangerous and violent words in his renamed Aesthetics over Ethics vlog. Meanwhile, Basil has started a YouTube channel warning of the dangers of social media with the warmth, sincerity and vapidity of the Tory party’s 3-word slogans.
The cast are all at the top of their game, with Joanna Lumley having a ball as the IT illiterate Lady Narborough but managing to portray the character’s underlying creepy obsession with Dorian through simple shrugs and sighs. Fionn Whitehead’s sensitive performance keeps Gray a tragic figure – his cruelty and excesses always have the terror of being ignored and forgotten bubbling underneath. Alfred Enoch steals the show as the louche Harry – claiming Wilde aphorisms as his own and balancing the arrogance and love for Dorian beautifully.
This digital Dorian Gray is a true wonder – a brilliant update of Wilde that will leave you questioning your own online habits.