Review – The Picture of Dorian Gray – Devonshire Park Theatre, Eastbourne and National Tour

There’s nothing quite like a handsome face hiding a rotten soul, and Oscar Wilde’s The Picture of Dorian Gray has been serving up that deliciously dark combination for well over a century. Now, a new UK touring production, adapted and directed by Seán Aydon, brings the gothic tale back to the stage. It’s stylish, entertaining and packed with moral mischief, but a few technical issues stop it from becoming a theatrical masterpiece.

At the centre of the story is Dorian Gray, a beautiful young man who becomes obsessed with staying young while a portrait of him takes on the physical signs of his advancing age and increasingly wicked behaviour. With the encouragement of the charming but dangerously cynical Lord Henry Wotton, Dorian tumbles into a world of vanity, temptation and cruelty. It’s a cracking premise, full of scandalous possibilities, and Wilde’s warning about the price of beauty still feels remarkably relevant in our image-obsessed world.

The production deserves credit for making this familiar story accessible without losing its sinister edge. Aydon’s adaptation keeps the narrative moving, while the cast of seven tackle the challenge of bringing a sprawling cast of characters to life. There’s plenty to enjoy in the performances, particularly the contrast between Dorian’s outward innocence and the uglier personality developing beneath the surface.

Jack Crumlin takes on the title role, with Mark Oxtoby as artist Basil Hallward and Mark Hawkins as Lord Henry Wotton. Together, they bring the central relationships into focus, giving the audience a glimpse of the friendship, manipulation and moral corruption that drive Dorian’s downfall. The cast also features Lydia Whitehead as Sybil Vane, Ayesha Griffiths as Catherine Vane, Lydea Perkins as Lady Victoria Wotton and Max Burnett as Romeo.

The story’s emotional heart lies in watching a young man gradually lose himself, and there are moments when the production captures that tragedy beautifully… but now for the less pretty picture.

Act Two is where the lighting really lets the show down. In a story that depends so heavily on atmosphere, shadows and the creeping horror of Dorian’s transformation, lighting should be doing some serious heavy lifting. Unfortunately, the second act feels poorly lit, with the visual presentation failing to give some scenes the clarity and dramatic punch they need. Rather than drawing us deeper into Dorian’s increasingly disturbing world, the lighting occasionally becomes a distraction. A sharper, more carefully balanced lighting design would make a noticeable difference.

That said, the production still has plenty going for it. The themes of youth, beauty, obsession and consequences remain gripping, and Wilde’s wickedly observant view of human nature gives the story plenty of bite. Even when the staging falters, the underlying drama keeps things interesting. There’s something deliciously uncomfortable about watching Dorian get away with more and more while everyone around him remains dazzled by his appearance.

The trouble is that the production sometimes feels a little too safe for such a daring story. The performances and central concept provide a solid foundation, but the staging needs more polish to turn its darker moments into genuinely chilling theatre.

Wilde’s tale of beauty, corruption and the consequences of living without a conscience remains a winner but this production needs a little more theatrical sparkle, and considerably better lighting, to truly shine.

***    Three Stars