Debauchery, orgies and murder. These events don’t constitute the average evening down at the Lion and Unicorn (at least not any more), but all were present on our most recent visit – to see the rather scandalous production currently on in the theatre upstairs.
An adaptation of Victorian writer Oscar Wilde’s only novel, The Corruption of Dorian Gray has been penned by Adam Dechanel, who was also behind December’s well-received Lion and Unicorn production of The Jungle Book. And where Mowgli et al. were family-friendly, The Corruption is a decidedly more adult affair.
Revolving around the exploits of its titular character, the audience is invited to follow this young man’s exploits and subsequent supernatural descent into vanity-driven depravity and sin.
From promising beginnings as the muse of artist Basil Hallward, Michael Batten’s Dorian cuts a convincing figure as an innocent and well-intentioned newcomer to Victorian London. Batten, fitting Gray’s appearance of clean-cut handsomeness to a tee – all strong jaw and chiselled cheekbones – riffs well off the other central players, exuding a reserved charm that breaks into hints of, then later full on, madness at the thought of his losing his youth.
The sheepish Basil, played with a delicate touch by Loz KeyStone, sits alongside the dastardly Lord Henry Wotton, brought to life in an entertaining performance from Will Harrison-Wallace. The characters contrast each other well, pulling Gray to and fro, with Harrison-Wallace’s corruption of Gray in the first half – where naughtiness and orgies abound – proving to be among the more memorable moments.
The cast create an admirable ensemble, with Elizabeth Bryant also standing out for her energy and ability to jump from the slightly ditzy Sybil Vane in the first half, to the headstrong and brazen Jane Wotton in the second, whilst retaining believability and character in both.
The piece flows well, although at over two hours it’s not exactly short, with the odd scene here or there seeming rather unwarranted – or perhaps just a tad too long (orgy scene, I’m looking at you). A tightening of pace would be welcome; a minor quibble.
And whilst the diminutive proportions afforded by the theatre limit the number of physical props and staging possible, the crew have worked wonderfully with the sound and lighting to add tension and create atmosphere, especially in moments of madness or uncertainty. One particular scene, with a dramatic, quick switch of lighting, was very effective in signalling the fine line between instability and sanity.
The Corruption of Dorian Gray proves that small theatre can do big stories, bringing the audience closer to the action, all in an underrated local venue in the heart of Kentish Town.
Plus, it’s got sex, violence and a mysterious painting – what more do you need?
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