THE PICTURE OF DORIAN GRAY Previews — Page 2

Melissa25 said: "The first preview gift was a paperback copy of the novel.

I was one of the few that did not care for Sunset so I was fearful about this but I loved almost every second of it. I do agree with theatergoer3 that it is like a magic trick and the last third should be tightened. Actually I really needed an intermission after an hour. It was just starting to get painful sitting that long and it was so incredibly warm. I prayed for some AC but none came. Anyway I have to say that this is unlike anything I have ever seen. I will be surprised if Snook doesn’t get a Tony. She was mesmerizing. The logistics, camera work and storyboard and direction were all insane. I had many laugh out loud moments and many moments where I felt my mouth agape going how’d that happen. Very smart. A must see."

Glad the heat wasn’t only affecting me! Brutal!

Assuming there are no discount codes for this?

To be a dissenting voice, I saw this last night and while I think it’s a technical marvel of theatricality and acting, I wouldn’t recommend it. (Important caveats — the source material does nothing for me and I’m not usually a fan of one actor shows.)

While it was impressive to see Snook do all the work, I didn’t connect with any of the characters. There just wasn’t any emotion in this for me. It was all intellectual and considering how long I felt, I got bored. Literally, I found myself spending way too much time thinking about how I preferred Laura Donnelly and THE HILLS OF CAIFORNIA to this. It didn’t help that I found Dorian’s wig to be one of the ugliest things I’ve seen onstage in a while.


On the positive side, it really is a technical marvel. Whoever called it magic is right, but there was a part of me that just was like, "if you wanna make a movie, make a movie"

I was also at the first preview and although I walked away very impressed with Sarah Snook and the technical feats, I was not moved. To me, this was all about showcasing Snook, but ultimately I thought the one-person-many-characters schtick, while very impressive, blunted the source material and made the show feel overlong - - and it's really not that long. For me, it just didn't capture what I love about the book. The camp felt very effective in the beginning, but I think it ended up robbing the last 1/4 of its oomph. I also wasn't initially bothered by the idea of watching Snook on the screens, but I did underestimate just *how much* (A LOT) would be watching the screens versus the actress. Perhaps if I'd been sitting closer I would have watched her more. I felt stirred at first watching her face and body morph between Basil and Lord Henry with her paint brush and cigarette, but once her pre-recorded, fully-costumed parts entered the story I felt less-engaged - even though it was impressive watching her interact so naturally and impromptu-seeming with the "characters." I'd definitely tell people it's worth seeing for the performance, but this was not a favorite.

Updated On: 3/11/25 at 04:29 PM

theatergoer3 said: "The whole production feels like a magic trick. A well executed magic trick but a magic trick that you’re aware of.

Snook is tremendous and goes for it (like Chastain a couple seasons ago). She’s probably the front-runner for leading actress in a play. The only thing I would change is start her mania a bit later but for story reasons it makes sense.

The production is very cool but not quite the smash Sunset was in terms ofscreens. I understand the theme of artifice and performance but at times it does create a feeling of distance from the performance.

For a one act, it also felt surprisingly long. Saw quite a few people checking the scripts given out as it got into the last half hour.

That would be my main note even though I know it hadpreviews and the run in London. Find a way to tighten up the last third. With no intermission, it feels longer than it actually is/a bit of a marathon to watch.

But Snook and her camera team got 3 or 4 bows and roaring ovations so it should do well."

Fixed it fer ya

Saw this tonight. It was brilliant.

Snook makes something incredibly difficult look just effortless. It's amazing, choreographed, well-acted and precision stage work.

She's really putting it all out there on this one and it pays off big.

binau: The thing about Dorian Gray vs Sunset is at Dorian Gray it felt to me like I was watching screens almost the whole time whereas Sunset still felt like normal theatre with the occasional screen.

For me there was no "normal theater" (sets, costumes, props) in Sunset but lots of screens to accentuate the "I am ready for my closeup" depravity of Norma. So that along with the Shubert Alley stroll felt gimmicky and I was left not feeling much. The multiple screens used in Dorian are of different characters sometimes at the same time moving the story forward. The screens served the story and actor in a unique and never seen before way (to me) and I was excited at how I was being challenged to keep up.

I agree that there are some gimmicks in the Sunset revival but the screen is used effectively in many instances, for example the close up on Norma's face to contrast with Young Norma's skin and address any concerns that Nicole is too young, emphasising her obsession with the camera (while adding humour and breaking the 4th wall to help the strangely effective way that they seem to mirror Nicole in Norma), making Norma seem so...low/inferior/pathetic when she is talking to the director etc. about her script. Plus how they use it as a lighting device too with the NYE party white or the red etc. And it's part of the whole framing/concept of a show about Hollywood having some kind of filming. But what I also enjoy is just when it's Nicole on a bare stage giving her all and there are no screens.

And if you look at the literal smoke because there is a bit of it it's quite incredible to see how the lighting is used on top of it/across it to create a very strange abstract visual effect that I don't think I've seen before.

I think it's easy to find certain things that don't make sense or focus on the flaws but for me I just need to think about the recent Glenn Close revival, remember how hard I was cringing at Sondheim-pedigree Jim Walton in "The Lady's Paying" vs being on the edge of my seat with my jaw open all throughout the Jamie Lloyd Sunset and I just can't imagine the material ever getting a better presentation.

Was this my favorite thing I've seen? Absolutely not. However, Snook's work is astounding. I'm not sure how she goes pretty much nonstop for 2 hours without more than a few seconds of break. She deserves the Tony for having the stamina required to do this role 8 times a week!

I was sitting third row center in the orchestra (lottery win), and I was getting rather uncomfortable from needing to crane my neck to look up at the screens for long stretches. Perhaps repositioning them further back or lowering them further would make the experience a bit less painful.

The show could definitely use some tightening. I love a one-act show, but a one-act show really should not be the length of a two-act show without an intermission.

Lloyd has nothing to "learn" here.

The screens are doing different things, serve different purposes for different reasons. One show is a large cast musical. The other, a one person show where characters speak/interact with each other, and snook live, because there is no one else.

The cameras in Sunset were to show naturalistic acting - something rarely executed in musicals. The close-ups were used to comment on beauty and smaller film acting that only enhances space the show lives in.

Both shows use them, musical or non, in their own way, very well.

Tammy Faye not so much.

Dorian uses it's cameras in a great way too. Just different - it's beauty moments primarily the use of the phone camera work - which could easily be considered gimmick (not to spoil for others).

Updated On: 3/14/25 at 12:23 AM

I had the absolute privilege of seeing this production earlier this week. Sarah Snook is a revelation and deserves every award coming her way. The direction and concept of this production won me over within minutes and I found the whole thing riveting from start to finish. This production does everything I wanted Lloyd’s Sunset to do with their Camera concept. Whereas Lloyd’s often felt pretentious and wasn’t servicing the material, Dorian Gray is fully focused on elevating the material and using technology to let the story sore as high as its star.

schubox said: "For those that have seen this, where do you think the best place to sit is between these two? I can grab a seat on my date for 3rd row Orch (B114) on the aisle or Row H (H114) in the mezz."

I always love sitting as close as possible, but you probably will be craning your neck up at B114. The screens are so big, H114 is probably more comfortable for your neck. If I were to see it again, I'd have a tough time choosing, but I think I'd go with H114.

Have fun! This was an amazing show.

Jmuep2 said: "To be a dissenting voice, I saw this last night and while I think it’s a technical marvel of theatricality and acting, I wouldn’t recommend it. (Important caveats — the source material does nothing for me and I’m not usually a fan of one actor shows.)

While it was impressive to see Snook do all the work, I didn’t connect with any of the characters. There just wasn’t any emotion in this for me. It was all intellectual and considering how long I felt, I got bored... "

This is how I felt watching Eddie Izzard do Great Expectations. I'd say I'm tired of one-person retellings of plays and novels, but I did love Andrew Scott's Uncle Vanya.