Adaptors: Ben Lobpries and Tommy Rapley
At: Bailiwick, 1229 W. Belmont
Phone: ( 773 ) 883-1090; $25-$30
Runs through: Sept. 3
BY RICK R. REED
By now, Oscar Wilde's novel The Picture of Dorian Gray has become iconic. Its morality tale of a beautiful young man who is granted the dubious wish of staying as youthful and handsome as he is in a portrait done by an admirer is also a cautionary tale along the lines of 'be careful what you wish for.' It's also a warning against vanity and excess. Of course, everyone knows what happens to poor Dorian; he remains untouched while his portrait ages, displaying not only the ravages of time, but of Dorian's increasingly hedonistic and selfish lifestyle. That it all ends badly, with Dorian finally sinking so low as to murder the one person in the world who truly loves him ( and at least peripherally causing the deaths of two others ) is part of the morality of the tale.
Modern takes on the story are not new. Will Self wrote a modern, London-set version of the story called Dorian and this reviewer also wrote a version of the story called A Face Without a Heart ( published in 2000 and recently reissued ) . What sets Tommy Rapley and Ben Lobpries' world-premiere adaptation apart from other adaptations is that the duo has opted for the risky option of attempting to tell the story through dance and movement. ( They use a minimum of words, so those looking for a faithful adaptation should pick up Wilde's original. ) And I'm happy to report that theirs is a stunning achievement. On the storytelling level alone, this adaptation is blessed with clarity and a remarkably forward-moving, engaging plot, in spite of the fact that dance and movement are used just as much as words. I wondered if my intimate familiarity with the book might have made it easier to understand the play on a strictly narrative level, but I don't think that was the case; the adaptors eloquently included everything they needed to chronicle Dorian's downward spiral. Oscar Wilde fans should not be disappointed.
The production is about as polished as I've ever seen on a Bailiwick stage. Kevin O'Donnell's music and sound design are spare, modern and elegant, reflecting influences from traditional Japanese to techno. Tommy Rapley's choreography is lean, physical and expressive; he's blessed with a lithe, talented ensemble to bring his movement to life. Finally, Collette Pollard ( set ) and Lee Keenan ( lighting ) have created a minimal, adaptable universe for Gray's downfall, with some nice stylistic touches.
Mr. Wilde would definitely approve.