Stage Struck Review

Reviewing Theatre For Over 40 Years

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“Dorian Gray” at A Noise Within: Recreating a Hit

Dorian Craig Schwartz 01

Frederick Stuart, Amin El Gamal (rear) and Colin Bates as Dorian in “A Picture of Dorian Gray” at A Noise Within [photo: Craig Schwartz]

Of all of Oscar Wilde’s creations, the overall theme of “A Picture of Dorian Gray” has most become a part of the English language. References to a portrait in a closet going to hell have appeared in any number of literary genres, and many who have never actually been exposed to Wilde’s story know in general what that reference means: someone who is dissolute in some way or another without it showing.

What may be less well known is the odd combination of license and Victorianism with which it is invested, or the more homoerotic tone of the original story Wilde himself had to tone down considerably when the work went from its magazine debut to the permanence of book form. Now Michael Michetti’s adaptation of “Dorian” has been revived and is once again directed by its adaptor at A Noise Within in Pasadena, 12 years after its wildly popular premiere at The Theatre at Boston Court (now Boston Court Pasadena), where Michetti is co-Artistic Director.

Although I often object strenuously to any sense of being wedded to the first presentation of a particular play, here there is a need to make some comparisons. Not only is the adaptation by the same person, but the director is the same. What have time and a difference of venue meant to this work?. In a play taken virtually word for word from Wilde, perhaps the most obvious, but in some ways the most unfair disadvantage of this production is its Dorian.

Wilde’s Dorian is a young man who radiates almost hypnotically attractive youth and innocence. He shines as a beacon of both to such an extent that the more jaundiced men with whom he comes into contact praise that beauty and youthfulness as both the greatest advantage he has, and the most fleeting. Thus begins the tale.

In Michetti’s first production, actor Steve Coombs’ Dorian was just that – a young man of Byronic beauty with a physique like Michelangelo’s David. At ANW, Colin Bates has an edgier, tougher, stringier aspect, making all the comments about his radiant innocence and Hellenic perfection ring somewhat hollow, not because he is not a fine actor (he definitely is) but because the tale centers so much on the dichotomy between Dorian’s riveting physical image and the increasingly twisted soul beneath.

On the other hand, the theme of a man who seems universally attractive while operating with a complete lack of conscience seems almost prescient, given the news cycle of the last couple of weeks. And so the play itself has more to offer now than perhaps it did before.

Standing out in a strong cast is Amin El Gamal, as the shyly adoring painter Basil. He manages the delicate balance of adoration, gentleness and pent-up emotion necessary to balance the wry, bitter quality of Frederick Stuart’s Lord Henry, the man most responsible for leading Dorian astray. Stuart’s delivery almost always offers hints of snide fatalism, and here that proves just the right irritant.

Beyond these three, Chelsea Kurtz makes fine work of the young actress Dorian’s adoration destroys, Jose Angel Donado exudes contained fury as her vengeful brother, and Daniel Lench sets a standard as Lord Henry’s uncle. Beyond these, a talented ensemble handles the many other characters who float in and out of Dorian’s world as his debauchery increases.

Michetti and James Maloof have designed a set which allows for quick scene changes and an interesting balance between reality and the weirdly dreamlike quality of Wilde’s storytelling. There is a strong sense of pacing and focus, and the choreography of John Pennington helps define the destruction of Dorian’s character with a fluidity which moves the story forward.

Yet, it is hard to buy into this Dorian, and thus into that aforementioned great dichotomy of Wilde’s story: the very Victorian concept of visible sin – of how an evil soul will wrench one’s physical self – and the portrait which twists so the man himself can remain unblemishedly beautiful.

Be aware that this adaptation borrows from both versions of Wilde’s original story, and thus emphasizes far more than the more easily acquired print edition the homoeroticism which underscored Wilde’s own life. There is also stylistically important full frontal male nudity. To paraphrase a favorite university theater director, if either of these will offend you, then you will be offended.

This play will be performed in repertory with “Rosencrantz and Guildenstern Are Dead”.

What: “A Picture of Dorian Gray”  When: through November 16, 8 p.m. October 19, 20, November 2, 3, and 16; 7 p.m. October 28, November 11; 7:30 p.m. November 15; 2 p.m. October 20, 28, November 2, 3, and 11  Where: A Noise Within, 3352 E. Foothill Blvd. in Pasadena   How Much: from $25, student rush with ID an hour before performance $20  Info: 626-356-3121 or

“The Manor” returns: Quasi-History in Beverly Hills


For 13 years, on a semi-regular basis, Theatre 40 has produced “The Manor,” based on, albeit fictionalized from, actual events which occurred at the play’s performance site: the Greystone Mansion in Beverly Hills. Written by Kathrine Bates, the play is founded in the tragedy which befell the Doheny family in the 1929, when the son of oil magnate Edward L. Doheny met a tragic end at the house his father had built for him and his bride.

In “The Manor,” Doheny becomes Charles MacAlister, a self-made mining magnate. We meet him at the height of the 20s, as he celebrates the marriage of his beloved son Sean to Abby, the daughter of his friend and legal consultant. Another guest at the wedding is a senator – a former fellow miner turned politician – with whom he chooses to make a deal that evening which will come back to haunt him. At the same time, Abby’s friend and former crush, Greg, and Greg’s rather garish wife are also introduced. Though all is rich, and most see the future as a brilliant thing, the groundwork for trouble is laid. In the second half, as the 30s begin, the dangers come home to roost.

The play takes the audience from room to room, not in the way that John Krizanc’s “Tamara” did in the 1980s – having different audience elements follow different parts of the storyline, which they’d share at various points to gradually tell the whole story – but by putting on each scene three times, and having the audience rotate in thirds so everyone sees the whole thing but in differing order. It is a formula which has worked over time, and certainly continues to do so under current director Flora Plumb.

Darby Hinton makes a gently commanding MacAlister – a man whose confidence comes in great measure from a strong sense of family and friendship. As his wife Marion, playwright Bates vibrates with loving and protective enthusiasm – obviously the glue which holds the household together at times. John-Paul Lavoisier, though his looks would seem more appropriate in a modern perfume ad than as the son and business partner of a 20s tycoon, does much to balance the sense of strength and business savvy with a gentle care and concern for his family and future. Annalee Scott rather neatly underplays Abby, leading to a sweetly realistic portrait which clicks better and better as the storyline grows.

Ben Gavin balances an stolid attractiveness with an awkwardness of class as the handyman Greg, while Cynthia Gravinese creates a significantly grating portrait of his grasping wife. Stephen Gustafson makes solid work of the MacAlister lawyer, though he’s not given a whole lot to do. Daniel Leslie, in an ill-fitting tuxedo, doesn’t seem very impressive as a US Senator, but handles his part with ease. Perhaps the best of the performers in the actual storyline is Melanie MacQueen, as the senator’s cool and long-suffering wife. The other really memorable performers are those who take the audience about the place – butler Daniel Lench, mute housemaid Esther Levy Richman, and most particularly housekeeper Katherine Henryk.

It is obvious that people love this thing, and one can see why. It is admittedly fascinating to see this tale play out on the stage where a similar drama actually did. This theatricality makes up for a sometimes artificial pacing, though the last half an hour is very strong and unified. The only completely unnecessary element is an allusion to the ghosts at the very end which – though it may simply be a way to get the entire cast back in the room for a curtain call – thins the sense of the “real,” replacing it with the corny.

Still, I cannot sniff at any piece of theater which inspires Los Angelinos to discover more about their own history. Indeed, the Doheny tale is a particularly colorful chapter.

On a practical level, the good news, at least in comparison with “Tamara”-like adventures, is the comparative lack of stair climbing and trailing over large expanses. The less than good news is the “light refreshment” offered at intermission. Don’t expect more than Doritos, packaged crackers, juice and water. Still, this is a singular event, which only takes place when the city of Beverly Hills has not scheduled other things in what is now a landmark and a museum of sorts.

What: “The Manor” When: Through February 13, 6 p.m. on January 22, 23, 29 and 30, and February 10 – 13 (all matinees were sold out by opening day) Where: Greystone Mansion, in Greystone Park, 905 Loma Vista Drive, above Sunset Blvd. in Beverly Hills How Much: $55 with tickets only available in advance Info: (310) 694-6118 or

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