Who doesn’t like the wilderness paradox? When so concise, when speaking, it is immoral but morally improved. exist Dorian grey picturesWilde radiated his line-up motto with enthusiasm: “Punctuality is the thief of time”, “The tragedy of old age is not an older person, but a young man, or an explosion ever, “the only thing worse than being talked about is being talked about. “This is my meager addition to the adaptation Dorian Gray Now in the music box: “Sarah Snook’s behavior is totally humble, only solo performers can.”
Like Oscar’s cheeky cemetery, I’m serious. Snook plays 26 characters from the 1891 novel, dipping and pouring out from a forest of dense wigs, beards, beards, trousers, vests, gowns, smoking jackets and other accessories to fill the stage with the British comedy type Pamboli stage. Her transition between gender, age and class is a discolored manifestation of protein endurance, which in a sense can be called self-attitude. Snook is not HBO’s cold-blooded manipulator Shiv Roy coastal succession. This is not a change in a star, but a supernova explosion, not a technique used for self-love, but a love for storytelling.
When Snook offers a masterclass (with little animals, harsh Aristos, harsh ingénues), she can’t do it without a small group of camera operators and dressers. this Dorian Graywriter director Kip Williams faithfully carved from the original text is a meticulous mix of live capture, pre-recorded videos and voiceovers. Five large LED screens travel through the stage, ascending and falling, with giant Hi-Def images of Snook captured by the camera crew. She is often hidden on the steps behind these panels, but we see her in and out of her outfit (when Louche Lord Henry Wotton’s beard is torn off, she will record a simulated “OW!”). Snook seamlessly synthesizes the frame with her pre-recorded self when Lord Henry appears in the camera with painter Basil Hallward. As a pleasant extra touch, Williams added the actor in her “neutral” narrator mode, recording the footage in the background. When the flesh freezes, multiple twists and turns tell a story about the division of the soul.
For those who were previously corrupted by Wilde’s Gothic Shocker: Hallward creates a breathtaking portrait of a beautiful young playboy (Dorian Gray). Visit Hallward and encountering Dorian’s photo, Lord Henry, the hedonist in principle, was attracted by the angel youth. Dorian was immediately converted by Lord Henry’s sentimental creed: “[E]Very impulsive, we try to kill our thoughts and poison us. Resist temptation, and your soul will become ill by longing for what it is forbidden. “Later, Dorian fell in love with a charming actress who rejected her, he rejected her, and the puppet committed suicide in her locker room. The painting will fade and transform because his body is forever young.
Such materials make the surface and obsessed with frame images (Dorian constantly compares the facial paint in a handheld mirror to his) perfect for our age of Instagram filters and social media. Human life has never been so thoroughly planned and broadcasted to make us look beautiful, witty and welcome. As Snook’s eyeliner often reaches straight to the camera, the identity of the screen itself becomes slippery as he is a close-up character or Dorian stares at his portrait. Snook was looking at the audience as she looked at the portrait, as if through the portal. She and us both replace the charming canvas: two black mirrors stare at each other’s lethal depths.
At this point, the dramatic purists might stretch out their hands and ask: Why pay an exaggerated Broadway price for two hours of TV? It seems to me that this is impeccable dramatic sublime wonder, all revolving around a stunning performance. More importantly, the piece has a finished physical dimension, which is carefully choreographed (and you’ll miss the little dance step to perform at a certain point while hovering Dorian). There are several scrolling landscape elements – including a toy puppet theater, which pops up from below and looks like a joyful beheaded heroine. One’s eyeballs swallowed Marg Horwell’s sweet, flower-filled suits and costumes that almost tickled your nostrils with the scent of floral.
We spent a lot of time looking at the snooker’s face in close-ups, and we began to wonder which physiognomy qualities allow these mutations. There is a wide face and apple cheeks, pierced hazel eyes, muscles, moving forehead. She uses these elements as conductors, timpani, woodwind instruments. Snook’s vocal works are also a model, reminding us that the foundation of such a great theater is the power of sound equipped with poetic language.
In a Bravura sequence, Dorian (now fluffy with positive swelling) plays on his smartphone using a beautification filter. Click! Their lips are ridiculous and full, their faces are thin and their eyes are dazzling. Then, the filter fell off, there was Snook, sweating, spots, normal. The frightening joy we share flips between patterns with amazing joy. The extreme dehumanization of artificial perfection is the inability to accept nature. Video designer David Bergman coordinates with lighting designer Nick Schlieper to create both seamless cinematic fantasies (synthesis) and stupid silly fantasies (for example, the face of photoshopshopshop snook, all turned into dozens of classic paintings, including Moroni, bronzino, bronzino, bronzino, bronzino, gainsbrough- ordorn bain ornorn that ornorn virtual walls. You won’t see Broadway performances with better artistic direction this season.
In two hours, without an intermission, some fatigue may occur in the last 40 minutes as Dorian murdered Hallward to dispose of the body, took a tour of hell, headed to the opium study, and then faced the actress’ brother, because his death was his responsibility. Williams’ visual storytelling begins to lean more towards cinematic contrasts (inventing an exciting person, even if redundant words during a hunting party). Nevertheless, if we become tired and wait for Dorian’s downfall, there will never be a flag. It was like she hit Runner’s heights, waving the speedier outfits and sounds in the space. It is also a tragedy of addiction in the way of reading the Anesthetic Manifesto (Anesthetic Manifesto, Moral Stories, Queer Fables). Snook Mainlines’ crazy adrenaline dose, hormones flood us, she sympathetically forms a similarity in the dark. On the last bow and arrow, she still shines, are we destroyed?
Dorian grey pictures | 2 hours. No intermission. |Music Box Theater | No. 239 West 45th Street | 212-239-6200 | Buy tickets here
