THE PICTURE OF DORIAN GRAY Previews — Page 3

poisonivy2 said: "Does Sarah Snook stage door by any chance?"

Yes.



https://www.broadwayworld.com/article/Video-Kieran-Culkin-Visits-SUCCESSION-Co-Star-Sarah-Snook-at-Her-Broadway-Stage-Door-20250312

The 2024-25 season was me being proven wrong about my hatred of live video on stage, I guess! Given that people are comparing this to Sunset I wanted to share that I came out of last night feeling remarkably similar to Dorian that I do about that production - while not every moment works/the conceit loses me at certain moments, as a whole it is enormously successful and some of the most exciting theater I’ve seen in recent memory.
Snook is a revelation. I have absolutely no idea how she is able to keep so many plates juggling in the air and to do so in a way that seems effortless - she’s acting for the stage, to the camera, and against herself all in one moment, watching her turn on a dime between characters and emotional stakes is honestly jaw dropping. She is a natural with Wilde’s prose and threads the tricky web of the tone and in my mind perfectly captures the arc of Dorian’s downfall. It is a superlative performance. The staging (like 90% of it) is brilliant. To me the use of the screens and video was insightful and supported by the text (content dictates form after all) and used in fascinating ways. I adored the use of music (two needle drops made me want to stand up and cheer) and Williams is smart in how exactly each new element is introduced and utilized.

Aside from the forrest scene, the bits between the Narrator & Dorian quibbling over who’s line it was anyway, and Snook’s performance as Sibyl (which I thought went just a bit too far) I was blown away. I do agree that there maybe could have been an act break (it is a demanding two hours) but yeah you really can’t miss this.

Updated On: 3/15/25 at 12:57 PM

Snook is winning that Tony.
No doubt about it.

cglaid said: "theatergoer3 said: "They really do need to turn on AC. The mezz was sweltering throughout."

Someone must've seen this thread because I came dressed to sweat in my mezz seat and ended up shivering in my winter coat. So, happy to report the AC issue has been sorted.

Also, the show and Snook are amazing. Unlike anything I've seen before.Agree with the poster above, I can't imagine her not winning."

I was also cold in the mezz last night in my flannel. But I was on the side aisle so maybe I was in the right place.

Snook, particularly in the final sequence, is thrilling, possibly the wettest performance on Broadway until Groffsauce is back.


The way they constantly find new ways to use and interact with the video is so good. Constantly feels fresh.

I go Friday I can barely wait.

Omg. Just give Sarah Snook the Tony now. I was skeptical about this production, but the way she was able to embody so many different characters just by altering how voice, mannerisms, and body language was astounding. Her face is so elastic -- she could contort it every which way. She was FUNNY. I laughed plenty, and this story is exceedingly grim. And she's such a sensitive actor that I cared about Dorian Gray. Amazing. Now the production. I'm actually more mixed about it. I mostly liked the huge video screens, and I think the nifty visual tricks (don;t want to give too much away, except to say that Snook often "talks" to alter egos in a mix of live performance and pre-recorded video) gave the illusion that this wasn't essentially a 2 hour monologue. And some of the visual tricks were seriously cool. BUT after awhile, I started looking forward to when Snook's acting was visible to the audience. The times she was purely behind a screen gave off a different effect. It was a bit like seeing a movie on IMAX. I don't think it's an accident that in the final big scenes, Snook was visible to the audience, and the effect was heartbreaking. However, the technical wizardry involved in this production is awe-inspiring, and I'm sure it will win Tony's. I kind of am jittery about what happens if there's a technical malfunction. The show is so high-tech. And also, I got the cheapest seats in the back of the mezzanine and don't feel like I lost that much. It was an extremely cold, windy March evening but after the show Snook came out and signed autographs and took selfies with everyone. She must have been tired but she was very gracious. And wow, she is talented at British and American accents bc in real life she has a very heavy Aussie accent. Highly recommend this.

Here’s my summary of the consensus reaction:

- Snook is extraordinary.

- The play’s tricks with video are fascinating and really well-done.

- Get the cheapest seats.

- It’s kind of draining and many folks aren’t sure how much they actually like the show.

Okay, so here are my clear thoughts:

I think I’m going to have to sit on the clear divide that this is a legendary performance unfolding before our eyes (much like Prima Facie was two years ago) and it would behoove everyone to see if for that alone. She put her androgynous to great use with simple flourishes and flips between the characters in a way that’s on par with the folks at MINCEMEAT.

However, the production is pretty much the cinematic experience of the year - which would be fine if it wasn’t in a Broadway house at Broadway prices. I should not feel so disconnected enough from 75% of what’s happening on stage to think I’m watching a movie being made in real time.


I’m not necessarily saying that the camera work is not innovative, but it, at times, threatens to (if not outright) outshine the star of the show itself - especially when it goes into Dorian’s bacchanalian era and the plot starts to go sideways a bit. I wonder what a slightly more conventional, Jefferson Mays-esque approach would’ve turned out, or balancing the use of live performance and cinematography like SUNSET

By the end, it almost felt like I ate a box of edibles and then turned on Audible and descended into a nightmare of multiple personalities trying out an experimental cabaret

Wow. Wow. Wow. Sarah Snook is a powerhouse. Just engrave the Tony now. (I’ve never seen Succession and didn’t know who she was prior to this show.) Can’t believe she has to do it all again tonight. I loved this. I thought the visuals were just so cool. Watching her interact with the other characters at the long table may have been my favorite part. Absolutely unlike anything I’ve ever seen. I loved everything about this.


I’m 99% sure I saw Ben Brantley leaving the theater. I really wanted to know what he thought of the show. I miss his reviews.

Fun Fact: there are other plays than just Prima Facie. It wasn't the best play ever and Comer didn't give the best performance ever. And no, don't even compare Snook to that. Snook took a gimmick and made it seem like it wasn't a gimmick. Comer's was just a scene-chewing gimmick. Please stop mentioning that here.

quizking101 said: "
However, the productionis pretty much the cinematic experience of the year - which would be fine if it wasn’t in a Broadway house at Broadway prices. I should not feel so disconnected enough from 75% of what’s happening on stage to think I’m watching a movie being made in real time.
I’m not necessarily saying that the camera work is not innovative, but it, at times, threatens to (if not outright) outshine the star of the show itself - especially when it goes into Dorian’s bacchanalian era and the plot starts to go sideways a bit. I wonder what a slightly more conventional, Jefferson Mays-esque approach would’ve turned out, or balancing the use of live performance and cinematography like SUNSET"

That's very much describes the way I felt about this show. Much has been said about Sarah Snook's phenomenal (sometimes over the top) performance, so not repeating points here.

But yes, 90% of the time I found myself watching the screens, not the actor . After the show ended, I thought that it wouldn't even matter f any seats were marked partial or restricted view because you wind up following up what's on screens anyway. I caught myself many times looking for the actor on stage and she was either blocked by screens or stage props and cameramen.

For me, screens never took away from the live performances during Sunset Blvd. Camerawork was never long or overpowering enough to distract me from actors on stage.

Can't say the same thing thing about Dorian Gray. The technical part of this was flawless and impressive, but I wish I was watching Sarah Snook, not multiple screens for 2 hours, most of the time not even paying attention where she was on the stage. I didn't pay a lot for my side mezzanine seat, $89 to be exact, and I can't imagine paying more for what this play is. To me, this production is the very definition of gimmick.

Updated On: 3/24/25 at 12:22 PM

My parents are coming into town in a few weeks, and I thought I’d look and see the the availability for their trip.


The good news: the houses for the week they are in town are about 25% full.


The Bad: I can’t justify $400 for orchestra seats.


I am kind of surprised at how empty the houses are after previews. Granted if they get raves in a few days that might change, but for such a highly anticipated show I was really surprised to see how little of an advanced sale they seem to have.