Director Matthew Bourne
Designer Lez Brotherston
Lighting Designer Paule Constable
Sound Designer Paul Groothuis
Composer Terry Davies
Video Design Mark Grimmer
Cinematography Stuart Bentley
UK Tour / Sadler's Wells
Mark Grimmer with Associate Designer Lysander Ashton will be undertaking the video design for Matthew Bourne's take on Oscar Wilde's gothic classic.
Bourne's first production in three years sees Fifty Nine Productions joining the creative team behind Play Without Words, Edward Scissorhands and The Car Man
Dorian Gray has its World Premiere in the Edinburgh International Festival before opening at Sadler's Wells in September, and then embarking on a UK tour.
For more information on the production, Visit the New Adventures website"
Bourne's love of the work is evident in every step, resulting in a 21st-century makeover that works astoundingly well....It's tempting to imagine what Wilde would make of it, and when the result is as intelligent and moving as this, it's not a great liberty to believe he'd be proud. The only question now is how Bourne can possibly top this.
Lez Brotherston's designs can set up a scene or a character in an instant, and Terry Davies's atmospheric score moves from sinister hums to plucked mandolin. The cast are terrific. Richard Winsor is a pouting Dorian, switching in an instant from vulnerability to viciousness. Michela Meazza is all elegant lines and angles as Lady H, and Jared Hageman is a quietly sinister doppelgänger. The corps may have too much posing to do, but they come to life when they spot Dorian: something they want, something they need.
...When Dorian first attracts Basil, Winsor and Sillis achieve an electric atmosphere of sexual tension. Dorian, starting like a seduced innocent, ends up making the running, and Bourne flashes up on screens the photos Basil is frenziedly snapping of him, as if in "real time". The two dancers thrash in an ultra-athletic coupling that becomes more and more explicit and takes your breath away.
...Packed with clever references and genuine wit...[the] first duet is the work’s choreographic and dramatic highpoint – deeply masculine and intensely sexual; it charts the seduction and possession of our innocent.
A gloriously slick show, fast-moving and full of humour, that is a feast for the eyes and ears.
Although Bourne's trademark humour only raises its head on a few occasions, he makes up for it in style and drama. Leaving the theatre after a Bourne production usually finds you smiling or wiping away tears. Dorian Gray leaves you pondersome and slightly disturbed – which is probably what Bourne had in mind.
Wilde's novel shocked the Victorian public back in 1890, and Bourne had his work cut out trying to achieve the same impact today. But with the penultimate scene - featuring a bloody tableaux the TV series Dexter would be proud of - he just about does it.
**** The List
The evening as a whole abounds in truly beautiful stage imagery, be it dancing, sets or designer underwear, all of which is complemented by Terry Davies' funky, atmospheric and sometimes counter-pointedly lyrical score. But, in addition, Bourne's adaptation never lacks the wit of the original.
It might not be as Oscar Wilde imagined it, not least because no words are spoken, but Matthew Bourne's choreographed adaptation of the famous gothic story seems even more appropriate to our self-regarding society than to the dandyish days of 1891. Premiering in the Edinburgh Intl. Festival before a major U.K. tour, "Dorian Gray" is a slick, chic crowd-pleaser -- as skin-deep as the culture it satirizes.