A star-studded production has found its way to Broadway from Sydney Australia, with an adaptation of “The Picture of Dorian Gray” by Oscar Wilde. This transformation of the classic is written and directed by Kip Williams, and features one actor, Sarah Snook, playing all the roles, including the narrator. In this modern age of theater, it has become extremely common to incorporate video images into the production values for scenic purposes, but more recently camera operators are appearing onstage filming the images presented on the screens in real time. In this production, some scenes are pre-recorded, and some are being filmed live, as the actor performs the role on stage. Then there are instances where the live performance is mixed with prerecorded images to create a conversation between two or more characters. Even when the actor is performing live on stage, the audience may only see the performance on a screen. As the characters that are portrayed change, so do the wigs and costumes, dramatically executed by a stage crew that is ever so attentive to the chores at hand. All this while being filmed in front of a live audience delivering a truly incredible performance, Ms. Snook does not miss a beat, hitting every mark with ease and precision. The one question that comes to mind is the labeling. Is this a theater production, a film, mixed media, a dramatic exercise on filmmaking, or an innovative theatrical event. Or perhaps, all the forementioned possibilities,

A brief synopsis may be needed to follow the storyline, since it is difficult to concentrate on the dialogue, when bombarded by such technical innovation and an experience of sensory overload. A portrait of a beautiful, young, and innocent Dorian Gray is painted by artist friend Basil Hallward. Dorian is then introduced to Lord Henry Wotton, who carries the hedonistic beliefs that youth, beauty and sensuality are what is important in fulfilling life. Realizing that his beauty will fade, Dorian makes a Faustian agreement, to sell his soul if his portrait ages and he remains young. The deal is made, and each time Dorian involves himself in unscrupulous behavior, the portrait becomes marred, and he remains young and beautiful. In the end, when he tries to destroy the atrocious painting, he kills himself, and the portrait returns to its original beauty, while Dorian’s dead body lies on the floor, old, disfigured and ugly.

Ms. Snook is masterful as she navigates through the hyperactive and interactive proceedings. The only downfall of the production is that at times it is difficult to focus on Ms. Snook’s intriguing performance, because of all the activity swirling around her and the stage. Regardless, it is all done with the utmost competency and professionalism. Director Kip Williams wears several hats as writer, director, film editor, and movement orchestrator, combining all these talents to create a seamless production. Kudos to the camera operators, clew, Luka Kain, Natalie Rich, Benjamin Sheen and Dara Woo, for steady control, gliding movement and unobtrusive behavior, to create clear, focused, and sharp images for the screen. It does not rate the highest score as a straightforward drama in theater, mainly because the audience cannot focus on the language or structure of play. However, it scores off the charts when it comes to entertainment value. The combination of a powerful performance and the most advanced technical video innovation certainly ensures a captivating and worthwhile theatrical experience.