“The tragedies of life often occur in an inartistic manner”
This week sees the second year acting students at Liverpool
Institute for Performing Arts present public performances of Neil Bartlett’s
2012 adaptation of Wilde’s novel.
Bartlett’s script makes use of a chorus, from which many of
the smaller roles are drawn, who declaim some of the dialogue in unison. The
members of this chorus also deftly move elements of scenery in Steve Buckwald’s
production and this, along with nifty use of flown drapery, elegantly keeps the
play pressing along at a decent pace. This is something that it needs, as the
text is terribly wordy at times and needs to be kept moving.
The piece opens with some introductory text spoken against a
tableau in which Jack West as Basil Hallward stands poised before his canvas,
motionlessly painting the eponymous picture. West is appealing as the troubled
artist, whose own aspirations are enshrined in the portrait of the friend he so
much admires.
There are some other notable performances including Harriet
Clarke, who plays both Sybil Vane and Lady Monmouth, but inevitably it is Lord
Henry Wotton and Dorian Gray who hold our attention and, indeed, have the
majority of the text.
In Henry Wotton’s case this is something of a curate’s egg
for the actor, as Bartlett has chosen to litter the part with quotes that can’t
help but become mildly wearing after a while. Fortunately Stuart Crowther plays
the part with tremendous flair and a good deal of wit and he has great stage
presence. He also very smartly and believably achieves the ageing process as
the play progresses.
Joshua Glenister has the looks and elegance for Dorian Gray
and he too has great charm on the stage. He naturally needs no changes in
physical appearance as his character ages, but it is pretty remarkable that he
does somehow exude a sense of growing older internally through his eyes, which
is terribly effective. His character’s gradual change in personality as the
brittleness begins to show through the cracks is beautifully done.
The play is not without its structural problems but Steven
Buckwald’s direction and Grace Smart’s settings manage to make it flow well.
I’m not entirely certain that a nervous titter was the reaction the team were
hoping for in response to the sudden demise of two of their characters, but a
lady hitting the stage with all the rapidity of a silent movie star and an
eruption of stage blood fit for a remake of Alien could maybe have accounted
for it.
Stage movement is effective and the almost constant presence
of the black canvas that never reveals its image to us keeps a looming threat
hanging over the action to the end. When it comes, the dénouement is a dramatic
triumph.
A Picture of Dorian Gray played at LIPA from 1st to 3rd May.
As an aside, the link below takes you to a short film on
YouTube showing Stuart Crowther in another guise, and also features a piece of
his writing.
http://youtu.be/zVveImpRQUw |
| Joshua Glenister and Stuart Crowther |
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