It is possible that there will be a potential to be a camel from the cameras, which reflects his wonderful gray. This is exactly what Cape Williams‘New heavy technology Broadway Production does, with Sarah Snock (“The Caliphate”) is a championship in all roles and is surrounded by a team of camera operators. However, although some luxury cameras and offerings, this production is still depth of the skin. Wilde himself was an essence of viruses, making the paradox here more painful, because this production could not find any depth in his surfaces.
“Dorian Gray photo“ – Who played a lot of praise in London last year -The video is creatively programmed, with SNOK often appeared on the screen in both Cimulcast and in previously recorded parts as other characters. Although technology is part of every place of this production, the piece does not practice practically He says On this topic, unlike admitting its existence-technology is linked to vanity, and a personal photo camera facing the front-like. These basic ideas are far from revelation, never approaching calm criticism of the pleasure of the doctrine of pleasure in Wilde’s novel in 1891.
This is the rare revival that is worse for those familiar with the source materials, who must disappoint your property. Williams seems to have misunderstood the novel mainly, or at least he had only a diluted understanding of it. While there is a general feeling of loyalty to the conspiracy, the final product looks completely different from the original because production is played as a wide comedy. Various SNook descriptions, especially their secondary characters, are so caricatures that they wander in British Panto. All the time, Snook Hams converts laughter, converted Wildz and Bigrams into a head. The tone is firm, but anywhere near the novel; Instead of Gothic Lighting Lighting, Williams and Snook treat them as a satirical charge.
The discovery when this production occurs exactly is a losing battle. Dorian begins at some point in using the iPhone, facing the formulation of a personal photo and the application of Snapchat filters as a notorious jump, which Dorian himself still remains a young man. It is not clear whether this iPhone is supposed to die, as it seems that production has been appointed (like the novel) in the late nineteenth century. Later, though, two of the pre -recorded videos are distinguished using iPhone devices; This may be an exaggerated version of the story of the story, but it is unclear why the characters are still in Victory clothes.
It is a lost opportunity to not set this production in the modern era, which could have allowed it to provide more exact points on social media and its relationship to sex, nationality, aging, self -image, treatment of body defects, and glorification of youth and beauty.
The fashion design (by Marg Horwell) takes an eccentric approach in this period, but in the end it becomes evacuated and confused, at the end of Dorian in what can only be described as pulling bad Elvis. This appearance is above the Boomdor hovering, one of the many borrowers of production. The most anxious is that a wig that Dorian wears for the first half of the play, which is a frizzy, blonde, clown. It is completely wrong for the character, and the design of Dorian in Cherub PETULANT instead of the amazing, deadly sex symbol that was supposed to be in the Wilde concept.
Regardless of the direction that wants any adaptation to take the story, It is very important for the audience to be attracted to Dorian: He must have an undeniable sexual magnetic. Nevertheless, Dorian’s Dorian has no sexual appeal, and sexual tension between Durian, Basil and Henry – the basic triple relationship of the text – was almost almost. The basis of “Dorian Gray” It is the beauty of Dorian. It is assumed that it is an example of the Victorian mutation, after which everyone looked. Dorian Snook is not perfect aesthetically – it’s a joke, laughing as he takes a personal photo, a peace mark.
Snook Ascent work throughout the play – which, according to it, includes creating distinctive sounds for a wide range of characters – do not prefer. Dorian looks like a British child in a SNL comic play; “Al -Rawi” is a farce of a suffocating English voice; Her Basil has a fragile stutter. And its secondary characters have such exaggerated vocal compression, and the only inspiration seems to laugh.
Snook’s mission here is not easy in any way. However, in its treatment, most of the characters fall into meaningless, unable to capture their complexities. The wide arc it creates for a league does not work completely, because Dorian is supposed to change outwardly. Her performance laughs from the audience, but she does not inspire meditation or moves any of the deeper themes for the piece – instead chooses physical and sound gymnastics, and stops applause after each bit.
In a surprising step, the changes and deletion in the text made this “Dorian Gray” this Many source less than source materials. A member of the audience may leave the unprecedented theatrical without understanding that Basil, Henry and Dorian are all themselves. All that remains is a single expression speech in the Bagil list, some gossip and tragedies surrounding Dorian, deprivation, “Why is your friendship fatal for young people?”
It is important, when the novel was published, it was seen as being so strange that the text is from “Dorian Gray”. It was used during the trial of Oscar Wilde as evidence of his sexual anomaly, deviation and supposed deviation. Just as Wilde’s novel was monitored by its original editor, the play removes some of the most obvious corridors, including when Basil Dorian admits, “It is completely correct that I have expressed a much more romance for you than a man should give a friend. Somehow I never love a woman.”
Likewise, Williams has taken some doubtful creative options when it comes to representing the non -textual production of the raid. As Dorian continues in “Odysse from the Systems”, he plays the role of “I Feel Love” in Donna Summer. The song, the first disco and a gay hymn is an indelible, here looks like a vulgar.
Later, Dorian Orthodhen, which Williams transfers into a modern nightclub, is visited, with integration with technical lights, strong lights, and gay character from the crystal nebulizer. While there is an argument that must be presented for historical parallel, the fact that one of the only only representations of contemporary raid is that Meth addiction does not speak well with sexual politics of production.
On the two main aspects of the novel, it explores the strange gossip at the end of the nineteenth century, a period that witnessed the rise of fashion and aesthetic. This complex association has been simplified here in the global concept of arrogance. Production turns from both anger and masculinity, as it is evident in SNOK.
Another explanatory moment when Basil admits, in the novel, his love for a league and a league, shows him the image, then kills him-a scene that can be read as gay killing. Here, Basil’s advertisement was cut off from love and Dorian’s appeal turned into a comedy playing in the mirror, and then Snook makes a simultaneous dance number of lips (with camera dancers) to “wonderful” from Apple treeWith the completion of the lyric, “There is this collapse of beauty in one woman and I am” and a league throwing sweets. It is options such as these that highlight the extent of production of the novel, and how little is that this production is interested in anger or masculinity.
A large part of the show is characterized by the already registered SNook excerpts as different characters, and although the actress never leaves the theater, it is difficult not to feel a little cheating. After all, we come to the stage for He lives performance. Although there is a large amount of simulation broadcast, the use of technology is more rooted here in pre -registered materials, which helps to solve the logistical puzzle of playing all roles. This gets a much greater problem: this production failed to justify or explain the reason for this offer from one person or what this choice earns.
In its essence, then, if production does not use its technique to comment and impedes it instead of strengthening it by coordinating the same actor, what remains? The hypothesis of production is a means of fraud, and it is a way to allow the actor to show the audience and dazzle him with some tricks. It is an empty scene, and it is still unclear what is trying to produce – if anything – to say otherwise the vanity is bad. Wilde himself wrote that we should not define things to good and bad, but charming and boring; This production is directly with the latter.
