Review: The Picture of Dorian Gray | Theatr Clwyd, Mold

★★★★☆ - More than a century after Oscar Wilde first introduced The Picture of Dorian Gray to the world, his story still retains a remarkable hold over audiences. Enduringly compelling, it tells of a man who wishes to preserve his beauty at any cost, while allowing his soul to become increasingly disfigured. And in Tilted Wig’s production at Theatr Clwyd, the gothic tale feels as relevant, provocative and deliciously uncomfortable as ever.

The Picture of Dorian Gray is a study of morality, vanity and the rather dangerous distance between how we see ourselves and who we really are. What makes this production particularly effective is its willingness to look beyond Dorian as a villain, inviting us instead into the darker recesses of a man who remains convinced, perhaps even until the very end, that he is capable of goodness. It is a fascinating portrait of self-deception.

The cast are excellent. Jack Crumlin feels almost destined for the role of Dorian, possessing the sort of face Wilde might have described as worthy of a portrait. Yet beneath that beauty, Crumlin delivers a performance that is deeply unsettling. There are moments when watching him is almost uncomfortable, and rightly so. His Dorian is charming enough to draw you in, but increasingly difficult to stomach. It is a wonderfully controlled performance that makes the character's moral deterioration all the more disturbing.

Mark Oxtoby brings a touching innocence to Basil Hallward, making his devotion to Dorian feel all the more poignant, while Mark Hawkins gives Lord Henry Wotton an addictive, corrosive wit. He is the sort of character whose words are as seductive as they are poisonous. Lydia Whitehead is lovely as both Sybil Vane and Hetty, while the remaining cast navigate their multiple roles with impressive ease.

One of the production's most inspired decisions is its use of a mirror in place of Dorian's portrait. It is a wonderfully theatrical and quietly provocative choice. Rather than presenting us with a painting that can be hidden away, the mirror offers something far more immediate: a reflection. It makes Dorian's vanity feel almost claustrophobic, while cleverly drawing the audience into the central question of the play. After all, how often do we mistake what we see on the surface for the truth beneath it? Perhaps the most uncomfortable reflection is not Dorian's at all.

This unease is heightened by Peter Small's lighting, which works beautifully alongside Russell Difchfield's eerie music. Combined, they create an atmosphere that is at once haunting and oppressive, allowing the production to slip between beauty and darkness with considerable effect.

Under direction from Seán Aydon, this is a compelling interpretation of a gothic classic. It is a reminder that vanity is rarely just about appearances, and that the ugliest things about us are often the ones we are most determined not to see. A beautiful, unsettling production that proves Dorian Gray has lost none of his power to fascinate, or to disturb.

| *Review disclosure: Tickets for this performance were kindly gifted by Theatr Clwyd in exchange for an independent review. All opinions expressed are entirely my own.