It’s a lot. Honestly, that’s the first thing anyone says when they walk out of the theater after seeing the Sydney Theatre Company’s production of The Picture of Dorian Gray show. You expect Oscar Wilde. You expect a bit of Victorian decadence and maybe some witty banter about cigarette cases. What you don't necessarily expect is a technical marathon that feels like a cross between a prestige HBO drama and a fever dream at a cinematic funhouse.
Sarah Snook is doing something here that sounds impossible on paper. She plays 26 characters. Yes, 26. Alone.
Why The Picture of Dorian Gray Show is Breaking the Broadway Mold
Most people think of "solo shows" as a person standing under a single spotlight with a glass of water, pouring their heart out about their childhood. This isn't that. This is a high-octane collision of live performance and pre-recorded digital trickery. The show, adapted and directed by Kip Williams, uses a forest of screens that descend from the rafters.
It’s technical. Extremely technical.
One minute Snook is playing Dorian as a naive, golden-haired boy; the next, she’s Lord Henry Wotton, lounging with a cynical sneer. The way the production handles the "picture" itself is where things get truly trippy. Instead of a literal canvas hanging on a wall, the digital screens become the portrait. We see her face decay in real-time through filters that would make a TikTok influencer weep with envy.
The complexity is the point. Wilde’s original 1890 novel was obsessed with the surface—with how we present ourselves versus who we actually are. By using cameras that follow Snook around the stage, filming her live and mixing it with footage shot weeks prior, the play forces you to ask: Which Sarah is real? The one standing three feet away or the one projected 20 feet high?
The Sarah Snook Factor
Coming off the massive success of Succession, Snook could have done anything. She could have signed a three-picture deal for a superhero franchise. Instead, she chose a role that requires her to sprint back and forth behind screens, changing costumes in seconds while maintaining a precise British dialect. It’s a flex.
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It works because she doesn't treat the characters like caricatures. Usually, when an actor plays 26 people, it becomes a "bits" show. You get the "funny voice" guy and the "limping" guy. Snook finds a specific, hollow desperation in Dorian that anchors the whole circus.
She's not just playing a man; she’s playing an icon of vanity.
The Technical Wizardry Behind the Curtain
The "cine-theater" style used in The Picture of Dorian Gray show isn't just for show. It’s a logistical nightmare that requires a crew of camera operators to be as choreographed as the lead actress. If a camera is two inches off, the illusion of Dorian talking to Basil Hallward (also played by Snook) falls apart.
There is a specific scene where Snook, as Dorian, interacts with several other versions of herself at a dinner party. It is a masterpiece of timing. She has to hit marks on the floor with millimeter precision so that her live face lines up with the pre-recorded bodies on the screen. It’s stressful to watch, but in a good way. It keeps you on the edge of your seat because you know that at any moment, the whole digital house of cards could come tumbling down.
Critics have pointed out that this might be the future of theater, or at least a very expensive branch of it. Not every show can afford 14 moving LED screens and a fleet of steady-cam operators. But for this specific story, it makes sense. Dorian Gray is a man who sold his soul to stay a "static image" while his reality rotted away. Using modern video technology to tell a story written before the invention of the cinema is a stroke of genius.
Addressing the Critics: Is It Too Much?
Some traditionalists hate it. They really do. There’s a segment of the theater-going public that finds the screens distracting. They argue that if they wanted to watch a movie, they’d stay home and use their Netflix login.
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"I came to see a play, not a broadcast," is a common refrain.
It’s a fair point, but it misses the kinetic energy of the live performance. There is a specific vibration in the room when you see Snook sweating under the heat of the lights, trying to outrun her own image. It’s an athletic feat. You aren't just watching a story; you’re watching a human being engage in a high-stakes battle with technology.
Understanding the "Wilde" Context
To really get what’s happening in The Picture of Dorian Gray show, you have to remember how scandalous the book was in 1890. It was used as evidence against Oscar Wilde in his trials for "gross indecency." The book was considered poisonous. It was decadent, queer-coded, and deeply cynical about Victorian morality.
Kip Williams’ production leans into that "poison." It doesn't shy away from the ugliness. As Dorian descends into a life of calculated cruelty—breaking hearts, ruining reputations, and eventually committing murder—the screens reflect that grime. The colors get harsher. The filters get more distorted.
It’s a reminder that vanity isn't just about looking in a mirror. It’s about the erasure of the self. By the end of the show, Dorian is so lost in the various "versions" of himself on the screens that he doesn't seem to exist in the physical space anymore.
Why This Production Matters in 2026
We live in a world of digital doubles. We have Instagram grids, LinkedIn profiles, and AI avatars. We are all, in a sense, managing a "portrait" that lives somewhere else while our physical bodies deal with the reality of aging and gravity.
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This production of The Picture of Dorian Gray show hits differently now than it would have twenty years ago. When Dorian looks at his hideous portrait and then at his own perfect face, it feels like a commentary on the filters we use every day. We are all curated. We are all edited.
- The Script: It stays remarkably close to Wilde's prose, preserving the flowery, sharp-tongued dialogue that makes the story a classic.
- The Pace: It’s fast. There is no intermission in many versions of this staging, meaning you are trapped in Dorian's spiral for nearly two hours.
- The Sound: The sound design is immersive, often using heightened Foley effects to make the digital world feel "thicker" than the physical one.
The Logistics of Seeing the Show
If you’re planning to catch the show, there are a few things you should know. First, sit back a bit. If you’re in the front row, you’ll spend the whole night craneing your neck up at the screens and missing the actual actress standing right in front of you. The "sweet spot" is usually the middle of the orchestra or the front of the mezzanine.
Second, pay attention to the camera operators. They are the unsung heroes. Watching them weave around Snook without bumping into the set pieces is a ballet in itself.
Third, don't expect a traditional "horror" story. While the portrait gets gross, the show is more of a psychological thriller. It’s about the rot of the soul, not jump scares.
Final Thoughts on the Experience
Is it the "definitive" Dorian Gray? Maybe not for everyone. But it is certainly the most ambitious. It’s a show that respects the source material enough to blow it up and piece it back together using 21st-century tools.
Sarah Snook’s performance is likely to be talked about for years. It’s one of those "were you there?" moments in theater history. Whether you love the screens or find them a bit much, you can't deny the sheer audacity of the attempt.
Next Steps for Your Theater Trip:
- Read the book first: It’s short, and having the original descriptions in your head makes the visual transformations on stage much more impactful.
- Check the casting: While Snook is the headline name, different international runs may feature different leads—though the technical "cine-theater" requirements remain the same.
- Watch the floor: If you can see the stage floor, notice the "track" system for the screens. It’s a marvel of engineering.
- Arrive early: The pre-show atmosphere usually involves some subtle visual cues on the screens that set the mood for Dorian’s world.