Roslyn Packer Theatre, Sydney Theatre Company
Kip Williams directs the actor through 26 different characters in a tirelessly inventive performance that taps into our collective fears and obsessions
There is a rare moment that happens in the theatre, and audiences and artists alike chase it their entire lives: the moment when a stage goes dark at the end of a performance, and after a second or two of stunned silence, the audience erupts. Everyone rises for a standing ovation. Everyone. They clap and clap, and then clapping isn’t enough: they whistle, they trample the ground beneath them to applaud with their feet. It is a generous, thrilled, addictive show of thanks for the gift of story.
It happened on Saturday night at the opening of The Picture of Dorian Gray, adapted and directed by Sydney Theatre Company artistic director Kip Williams. The novel – a classic of Victorian gothic laced with queer hunger – is neatly and minimally abridged here into a smartly measured, dizzyingly beautiful tour de force. Told in omniscient third-person narrative as in the book, Eryn Jean Norvill plays 26 characters in a series of wigs and coats and subtle transformations of the self. She populates the world.
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