Dorian Gray By Oscar Wilde Sydney Theatre Company Adapted and directed by Kip Williams - Adelaide Festival
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THEATRE / AUSTRALIA
The Picture of
Dorian Gray
By Oscar Wilde
Sydney Theatre Company
Adapted and directed by Kip Williams
EDUCATION RESOURCE
Resource developed by Deanne Bullen 2022
Copyright protects this Education Resource. Except for purposes permitted by the Copyright Act, reproduction by whatever
means is prohibited. However, limited photocopying for classroom use only is permitted by educational institutions.
The resource remains the property of Adelaide Festival Corporation, 2022
The Adelaide Festival Education Program is generously supported by The Lang Foundation & Thyne Reid Foundation.
Presenting
Partner
YOUTH & Generously supported by Fiona MacLachlan OAM,
EDUCATION Diané Ranck and donors who contributed to
PROGRAM Festival Connect through the Adelaide Festival
PARTNERS End of Financial Year Campaign.
The Picture of
Dorian Gray
Contents
Show Overview
• Warnings
• Synopsis
• Themes
• Production:
• Style and conventions
• Music and sound
• Set and costume design
Australian Curriculum Links
Theatre Etiquette
Before the Show
• Oscar Wilde: the author
• Adaptations of The Picture of Dorian Gray
• Student activities
After the Show
• Reviewing the production
• Refining student activities
Meet the Company
Additional Resources
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 2
Show Overview
WARNINGS THEMES Set and Costume Design:
• Use of theatrical haze machine • Morality and corruption • Staging designed to include
and herbal cigarettes the presence of the camera
• Appearance and identity
and operator and sets up the
• Adult themes • Love and sexuality actor in various tableaus as
• Drug use • Life and art to represent time, place, and
Recommended for students 15+ character.
Lockdown approximately 20 PRODUCTION • Nick Schlieper’s lighting
minutes into the show. design responds to the
Style and Conventions:
sounds and place as the story
SYNOPSIS • Told in third person descends into murder and
• Live and pre-recorded video revenge.
This reimagining of Oscar Wilde’s
feed • Costumes include an array
The Picture of Dorian Gray by
of wigs and outfits that take
Kip Williams is a period drama.
Music and Sound: Dorian from tousled youth to
Williams has written and adapted
• Original music composed by ageless predator and often
Wilde’s century-old fable of
Clemence Williams designed change on the fly during the
beauty and a deal with the devil
to create a soundscape that production.
that is a mirror to our times.
uses era-appropriate piano
As a one-person show, we see
and dramatic chords. The
actor Eryn Jean Norvill play all
music is pre-recorded.
the shapeshifting 26 characters
in a cascade of theatrical • Donna Summer’s I Feel
transformations. Love has been remixed
to underscore a montage
The production uses a mix of sequence.
cutting-edge contemporary
• Included is a lip sync to a
theatre design, period drama,
number from 1966 Broadway
and live and pre-recorded video
musical The Apple Tree:
to allow Norvill to play all 26
https://masterworksbroadway.
characters simultaneously.
com/music/the-apple-
tree-1966/
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 3
Australian
Curriculum Links
This education resource has application of skills.
been developed with links to the
South Australian Certificate of Exploration and Vision
Education (SACE) Stage 1 and
• Exploring and analysing a
2 – Drama, English and Media
dramatic text with a view
Studies.
to creating a director’s or
designer’s vision for staging.
DRAMA – STAGE 1
• Exploring and analysing drama
SUBJECT OUTLINE as an avenue for social change
Students adopt roles from the with a view to conceiving a
dramatic fields of theatre and/or self-devised hypothetical
screen. They apply the dramatic performance.
process to create outcomes
and take informed artistic risks ENGLISH – STAGE 1 AND 2
to present the unique voices of SUBJECT DESCRIPTION
individuals, communities, and
cultures. In English students analyse
the interrelationship of author,
Understanding and Responding text, and audience with an
to Drama emphasis on how language and
stylistic features shape ideas
Students deepen their and perspectives in a range of
knowledge and understanding of contexts. They consider social,
contemporary dramatic practice, cultural, economic, historical,
conventions, and traditions using and/or political
live, online, and other resources.
GENERAL CAPABILITIES
Drama and Technology
Specific learning activities are
Students research and analyse linked with the following icons:
contemporary drama that
includes innovative technology.
Literacy
They explore possibilities and
provide creative ideas … in a
hypothetical (or actual) dramatic Numeracy
product.
Critical and creative
DRAMA – STAGE 2 thinking
SUBJECT OUTLINE Ethical
Students draw links between understanding
theory and practice through Personal and social
exploration, taking informed capability
artistic risks, and practical
experimentation. They
create drama from ideas and
theoretical foundations, and by
experimenting with concepts,
processes, aesthetics, and the
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 4
Performance
Literacy
As students engage with and Art is a means of expressing Example of Glossary of
view live theatre, they develop emotion, a way of transmitting Dramatic Terms
a deeper understanding of the feelings, culture, beliefs and
https://www.oranim.ac.il/sites/
language of performance art. values between the creators and
heb/sitecollectionimages/
They develop literacies allowing performers of the work and the
pictures/english/expression/
them to ‘read’ the gestures and audience or viewers. Some art is
glossary_of__drama_dramatic.
movements of a performer, and created for the explicit purpose
pdf
an understanding of the intention of eliciting a strong emotional
of the set, costume, lighting response from the audience and
design and reflect on how they there are a myriad of emotions
contribute to the narrative. that students will experience
Students consider the intended when they are viewing live
meaning of the playwrights, performance from happiness to
directors and/or artists’ in anger, surprise, annoyance, and
choosing a setting, character, confusion, just to name a few.
or artistic form as well as what
The Before the Show activities
they are looking to communicate
are designed to support students
through their work.
to develop these literacy skills,
Attending live theatre and knowledge and understanding in
responding to performances, relation to their Adelaide Festival
addresses the criteria for experience.
Literacy in line with the Australian
The After the Show activities
Curriculum General Capabilities
are designed to provide students
… students become literate as with the opportunity to discuss,
they develop the knowledge, analyse and comprehend
skills, and dispositions to their responses to the show.
interpret and use language Having a strong knowledge
confidently for learning and and understanding of theatre
communicating in and out of terminology will support
school and for participating students and extend their
effectively in society. Literacy vocabulary as they describe
involves students listening to, their theatre experience with
reading, viewing, speaking, authentic language.
writing, and creating oral, print,
visual and digital texts, and using
and modifying language for
different purposes in a range of
contexts
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 5
Theatre
Etiquette
The French word etiquette, Why does it matter?
meaning ‘requirements for Five broad groups
• Students talk about sharing
proper behaviour’, was adopted of children whose
the space and respecting
by English speakers in the responses as audience
other audience members
middle of the 18th Century. are characterised as:
attending the performance.
This can sound a bit formal but
understanding theatre etiquette • As a group, students discuss Technicians – children
helps an audience understand the shared role of audience who are more interested
what to expect and how to get and performer, each being in the technology
the most out of their theatre dependent on the other to than the performance,
experience. ensure a great performance. deconstructing the
• Remind students that just as performance techniques
they can see the performers, employed in the show.
Depending on the age of an
audience the expectations the performers can see them! Narrators – children
can vary. Theatre designed for who talk through the
very young audiences will have As a class exercise, compile a list performance, asking
different expectations and will of all the roles and tasks it takes questions, commenting on
often invite and encourage to bring a live performance to the actions.
participation. However, as stage.
Dramatists – children who
the content becomes more
immediately imitate what
complex and audiences mature, THEATRE PROTOCOLS TO they see, participating
there is an expectation that SHARE WITH STUDENTS through their own actions.
students will have developed
an understanding of the When in the foyer they should: Mystics – children who are
difference between enthusiastic • Go to the toilet before going completely engrossed in
participation and thoughtless into the auditorium. the sensory aspects of the
disruption. experience.
• Follow the directions of the
front of house staff. Spectators – children who
WHOLE CLASS • Turn off mobile phones. hover around the edges,
DISCUSSION: playing with whatever they
• Wear a mask if required.
can find, apparently not
What makes going to a live engaged, but often able
performance different to going When the lights go down:
afterwards to recall what
to the cinema? • This is a sign the performance they saw.
Many students have been is about to start. It is time to
Ask your students which
to the movies but might not end chats and be quiet.
group they think they
have experienced a theatre • Cover coughs and sneezes. would be. Does their
performance. Emphasise with • No eating in the theatre. Only response match your
them that the BIG difference is water bottles are allowed. observation?
that the actors are live and in the
moment. Photographing and filming is Weddell, C (2003) The
not permitted because: child audience. In S.
Students to discuss and share Wright (Ed.) Children,
accepted ways of showing • It can disturb the actors on meaning making and the
appreciation. Reinforce with the stage and break their arts. Australia: Pearson
them that if it’s funny, it’s okay concentration. Education.
to laugh, if the actors invite • Intellectual property is
responses, then it’s okay to paramount. The production
respond. Sometimes it can on stage is the intellectual
also be sad and many times property of the theatre MORE INFO ON:
challenging. Assure them there is company therefore no
no right or wrong response to a Student Pathways in
photographs or filming is
live performance. Creative Industries
allowed.
Download here
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 6Before the show
SO, WHO WAS OSCAR WILDE?
Following is a snapshot of his life:
• Born Oscar Fingal O’Flahertie • Began to achieve fame as
Wills Wilde in Dublin, Ireland, author and playwright 1889.
on 16 October 1854. • 1890 his only novel The
• Father was a leading ear and Picture of Dorian Gray
eye surgeon in Ireland and (published in Lippincott’s
mother a revolutionary poet Magazine and then in book
and authority on Celtic myth form, revised and expanded by
and folklore. six chapters in 1891).
• Studied Latin and Greek • 1894 wrote The Importance
(Classics) at Trinity College of Being Earnest: A Trivial
in Dublin, an outstanding Comedy for Serious People
student, winning academic (said to be his greatest
awards. achievement; it exposed
• Went on to Oxford University Victorian hypocrisies).
and continued to study • 1895 first performance of The
Classics. Importance of Being Earnest.
• Became involved with the • Marquess of Queensberry
Aesthetic Movement while accuses Wilde of being a
Oscar Wilde by Napoleon Sarony 118 by
studying at Oxford. sodomite, Wilde sues for libel. trials and errors is licensed under CC BY2.0
• Appeared on the London Case collapses but Wilde is
scene 1880 as an art critic. arrested ordered to stand trial.
Jury fails to reach a verdict.
• 1882 went on American tour
In a retrial Wilde found guilty
lecturing of aesthetic and
and sentenced May 1895 two
design concepts.
years hard labour.
• 1884 married Constance Lloyd
• The death of Oscar Wilde in
– had two children Cyril and
1900 seen by many to mark
Vyvyan.
the end of the Aesthetic
• 1887-1889 editor of The Movement.
Woman’s World.
Sydney Theatre Company – Timeline: The Life of Oscar Wilde
https://www.sydneytheatre.com.au/magazine/posts/2020/
november/oscar-wilde-life-timeline
A picture of the cover of the July 1890
edition of Lippincott’s Monthly Magazine,
where “The Picture of Dorian Gray” was first
published. Image: Wikimedia Commons
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 7PROVOCATIONS
Individually, students build a deeper understanding of the life and Interesting things you
times of Oscar Wilde through researching one of the following might not know about
provocations: Oscar Wilde.
• How was Oscar Wilde • What was the context within • More than 100 years
influenced by the era he lived which Oscar Wilde’s life and after Wilde’s death,
in and its values? art took shape? Dublin finally accepted
Wilde as one of its own
• How would you describe Wilde • How did Oscar Wilde’s by unveiling a collection
as both an artist and historical involvement in the Aesthetic of three statues in
figure? Movement influence and Merrion Square to
• What were the new worlds that shape his ideas? commemorate the poet
Oscar Wilde imagined? and playwright.
• What was the cultural • His last words are
and historical world that reported to be: ”My
surrounded Oscar Wilde? wallpaper and I are
fighting a duel to the
death. One or other of
WHAT WAS THE AESTHETIC MOVEMENT? us has got to go.”
The word aesthetics is from the Greek aisthetikos meaning of sense • He only wrote one novel.
perception. • Oscar Wilde was an
The Aesthetic Movement was a branch of philosophy concerned with advocate for socialism.
the nature and appreciation of art, beauty, and good taste. It has also He argued that
been defined as a critical reflection on art, culture, and nature. capitalism crushes
creativity because
It was in opposition to the Victorian era of Wilde’s time and people are so busy
challenged the bourgeois thoughts and morality of the age. focused on solving the
social problems caused
Undertaking research students to: by capitalism.
• Collect, organise, summarise, and synthesise information. • He was an accomplished
• Combine research in a digital form. children’s book author
– The Happy Prince,
• Review and evaluate the research of each group.
The Nightingale and the
Rose and The Selfish
Giant.
The Victorian Era is the period of Queen Victoria of
England’s reign, from 1837 until her death in 1901. This
era is marked by the values of this period where religion,
morality, evangelicalism, industrial work ethic, and personal
improvement took root. SACE
ENGLISH LITERARY
STUDIES STAGE 2
Read the book Watch 1973 movie production
The Picture of Dorian Gray: The Picture of Dorian Gray: Learning requirements:
PDF copy to print 1973 film • Understand the
relationship between
https://sites.ualberta.ca/~gifford/ https://www.youtube.com/ author, text, and
dorian/dorian.pdf watch?v=p5Khfvkw1lE context.
• Analyse how ideas,
perspectives and values
are represented in
texts and how they are
received by audiences.
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 8APHORISMS
Oscar Wilde’s aphorisms were seen as his trademark and were SACE
used as a form of social notation. The aphorisms expressed difficult ENGLISH STAGE 1
concepts using short but meaningful sentences.
Learning requirements:
Etymology of aphorism
• Identify ways in which
Early 16th Century: from French aphorisme or late Latin aphorismus,
ideas and perspectives
from Greek aphorismos ‘definition’, from aphorizein ‘define’.
are represented in texts.
Definition of aphorism • Analyse how language
and stylistic features
A brief saying or phrase that expresses an opinion or makes a and conventions are
statement. used to convey ideas
and perspectives in
To make sense of these aphorisms, students should work texts.
with a partner and:
• Start with the listed everyday aphorisms and rewrite them in their
own words.
• Discuss and share with another pair – compare and contrast
• Continue with the Oscar Wilde aphorisms from The Picture of
Dorian Gray and rewrite them in their own words.
As a whole class, discuss and share the interpretations of the Oscar
Wilde aphorism.
EVERYDAY APHORISMS IN YOUR WORDS
Actions speak louder than
words.
All for one and one for all.
Give a man a fish and you feed
him for a day; teach a man to
fish and you feed him for a
lifetime.
If you lie down with dogs, you
wake up with fleas.
Laugh, and the world laughs
with you; weep, and you weep
alone.
You can take the boy out of the
country, but you can’t take the
country out of the boy.
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 9OSCAR WILDE’S
APHORISMS IN YOUR WORDS
Taken from The Picture of Dorian Gray
Example - Art is something that can be bought and sold, but it reveals
To reveal art and conceal the
nothing of the artist whose sole function is to create beautiful things
artist is art’s aim.
that people want to purchase and enjoy.
There is only one thing in the
world worse than being talked
about, and that is not being
talked about.
The only way to get rid of a
temptation is to yield to it.
Experience is merely the name
gave to their mistakes.
And beauty is a form of
genius – is higher, indeed,
than genius, as it needs no
explanation…. Beauty is the
wonder of wonders. It is only
shallow people who do not
judge by appearances.
There is no such thing as a
moral or an immoral book.
Books are well written, or badly
written. That is all.
It is the spectator, and not life,
that art really mirrors.
Nowadays people know the
price of everything, and the
value of nothing.
A man’s good name is the
most important thing he has.
A man’s destiny is written in
the stars.
What the gods give they take
away.
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 10Oscar Wilde added a preface to The Picture of Dorian Gray to reply
to the critical reviews of the time and provide a way to interpret the
SACE
book.
ENGLISH STAGE 1
THE PREFACE
Learning requirements:
The artist is the creator of be proved. No artist has ethical
beautiful things. To reveal art sympathies. An ethical sympathy • Analyse relationships
and conceal the artist is art’s in an artist is an unpardonable between purpose,
aim. The critic is he who can mannerism of style. No artist audience, and context,
translate into another manner or is ever morbid. The artist can and how these influence
a new material his impression of express everything. Thought texts and their meaning.
beautiful things. and language are to the artist • Identify ways in which
instruments of an art. Vice and ideas and perspectives
The highest as the lowest
virtue are to the artist materials are represented in texts.
form of criticism is a mode
for an art. From the point of view • Analyse how language
of autobiography. Those who
of form, the type of all the arts and stylistic features
find ugly meanings in beautiful
is the art of the musician. From and conventions are
things are corrupt without being
the point of view of feeling, the used to convey ideas
charming. This is a fault.
actor’s craft is the type. All art and perspectives in
Those who find beautiful is at once surface and symbol. texts.
meanings in beautiful things are Those who go beneath the
the cultivated. For these there surface do so at their peril. Those
is hope. They are the elect to who read the symbol do so at
whom beautiful things mean only their peril. It is the spectator, and
beauty. not life, that art really mirrors.
Diversity of opinion about a work
There is no such thing as a moral
of art shows that the work is new,
or an immoral book. Books are
complex, and vital. When critics
well written, or badly written.
disagree, the artist is in accord
That is all.
with himself. We can forgive a
The nineteenth century dislike man for making a useful thing
of romanticism is the rage of as long as he does not admire
Caliban not seeing his own face it. The only excuse for making a
in a glass. The moral life of man useless thing is that one admires
forms part of the subject-matter it intensely.
of the artist, but the morality of
All art is quite useless.
art consists in the perfect use
of an imperfect medium. No OSCAR WILDE
artist desires to prove anything.
Even things that are true can
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 11THE ADAPTATIONS characters as well as the world of contrasting discoveries and
Victorian-era England. interpretations.
130 years later and Oscar Wilde’s
• Ask what was similar, different
story of a beautiful young man As a whole class, watch the or a point of tension.
who trades his soul to retain following short interviews with
his youthful looks while his Kip Williams:
portrait withers in his place still
says much about our image- • Kip Williams discusses the
conscious society today. making and creating of
Suddenly Last Summer. In this
There have been many short documentary Williams
dramatised versions of the refers to the use of cameras
novel on stage, radio, and and live video:
film, including several musical https://www.youtube.com/
versions. watch?v=VnxecSbMJTk SACE
The 1945 version of The Picture • In another interview with DRAMA STAGE 1
of Dorian Gray won an Academy Williams (at 3:26), he talks
Award for Best Cinematography about what live video reveals:
Drama & Technology
(https://vimeo.com/347286720). https://www.youtube.com/
watch?v=0OqaCnY21UA Students research and
• Q&A with Artistic Director analyse contemporary
The many adaptations of Kip Williams in which he talks drama that includes
The Picture of Dorian Gray about how he used video in innovative technology.
The Picture of Dorian Gray: They explore possibilities
https://en.wikipedia.org/ and provide creative ideas
wiki/Adaptations_of_The_ https://www.sydneytheatre.
com.au/magazine/posts/2019/ … in a hypothetical (or
Picture_of_Dorian_Gray actual) dramatic product.
august/q-and-a-kip-williams-
dorian-gray
SYDNEY THEATRE
Working with a partner,
COMPANY ADAPTATION
students: RESOURCES
Director Kip Williams and Eryn
• Undertake research to find out A practical introduction to
Jean Norvill’s long standing
about Ivo van Hove and the the theories and methods
collaborative relationship is
technique he pioneered. of Robert Lepage
amplified by designers and
technicians to deliver a highly • Watch and read interviews
Towards a Rich Theatre:
inventive and technological with Kip Williams where he
Where Does the
production. In past productions discusses the use of live video.
Wooster Group Take
Williams has used a mix of video • Research others who have Technology? Where Does
and live performance, a style used new technologies in the Technology Take Theatre
pioneered by the Belgian director theatre. Performance?
Ivo van Hove. • Work with another pair to
share collective knowledge RESOURCES TO
Productions include:
and discuss what resources
• Tennessee Williams’ Suddenly
could be used in the school
GET STUDENTS
Last Summer THINKING ABOUT
environment.
• Bertolt Brecht’s The Resistible SELF-OBSESSION &
Rise of Arturo Ui Working in small groups, IMAGE
• William Shakespeare’s Julius students discuss the following:
Looks aren’t everything.
Caesar
• Director Kip Williams says the Believe me, I’m a model –
“Video is an extra element that
production looks at video as “a Cameron Russell
the twentieth century gave us,
means by which we construct
and it needs to be used carefully. How the West became a
our sense of self-obsession”.
We use it to bring the emotional self-obsessed culture
What do you think he means
life of the characters closer to
by this statement? Me! Me! Me! Are we living
the audience, but not to beautify
through a narcissism
the production or just to create As a whole class, students: epidemic?
effects… We also use video to
show moments that could not • Undertake research using
otherwise be staged.” the following keywords: self-
– Ivo van Hove obsession, youth and image.
The multiple cameras allow • Share and discuss information
Norvill to create the 26 with a focus on comparing and
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 12STUDENT ACTIVITY shapeshifting 26 characters in
this production. Play Script
Provide students with a
copy of two consecutive scenes Playing multiple roles is Adaptation of The Picture
from the adapted play by Heather technically and psychologically of Dorian Gray – Author
Walton. challenging. Heather Walton
When thinking about a character, https://silo.tips/download/
Working in small creative teams students need to identify:
(3-4 in each team), students: the-picture-of-dorian-
• What does the character gray-4
• Table read their given scenes. want?
• Identify and discuss where • Why does the character want
they could include the use of what they want?
images and film to support the • How will the character get A table read (also known
telling of the story. what they want? For example, as a read-through) - an
• Decide what time (era) their how do they influence others, organised reading of
adaptation will take place tactics, charm etc.? the script in which the
– is it a period piece or • What does the character speaking parts, stage
contemporary? (This decision need to overcome to get what directions, and scene
will influence the design of the they want? For example, the headings are read out loud.
costumes and set.) obstacles or circumstances
• Decide on the roles they will that get in the way, or an
take to produce their scenes internal struggle.
(acting, technical, designer, NOTE: The size of each team will
directorial). mean students will need to take
on the role of more than one
FLOWERS character or another production
Flowers appear throughout. They role (lighting, filming etc)..
symbolise beauty and how briefly
Two obvious challenges of
it lasts. They are a constant
playing multiple roles for
reminder of Dorian’s wish to
students to consider:
remain young and beautiful
forever. 1. Confusing the characters.
The set design includes 2. Overacting.
elements of ‘junk’ hidden
Overcoming the challenge
amongst the flowers.
1. A change of costume.
PLAYING MULTIPLE 2. A shift in body language.
ROLES 3. A shift in pace.
The use of live and pre-recorded 4. An iconic prop to evoke the
video is instrumental in Eryn right persona.
Jean Norvill playing all the
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 13COSTUMES
Characters must look as though the items they wear are completely normal and natural for them. The
more natural an actor looks in their costume, the easier it will be for them to become their character.
Costumes help tell the story, help actors get into character, and immediately tell the audience something
about what’s going on
Costumes are part of the • Hats need to be secured REHEARSE
narrative. properly, checked that brims
on hats don’t throw a shadow Students to use music, images
When selecting their costumes and video to support the
on faces.
student to consider: storytelling. Share with another
• Wigs need to be well prepared group for feedback.
1. Shoes and secured. They should
never be shared. The peer feedback template
• Practice wearing them. will support students to frame
• Masks can muffle the voice.
• Be aware of the noise they their feedback for another
• Make-up need to suit the creative team.
make when moving around on
individual. Not all make-up will
stage.
work for everyone, and some
can cause allergic reactions. Integrating the feedback and
2. Skirts and dresses
preparing for performance or
• Large, long skirts can be a Actor’s rule: Become familiar with filming
tripping hazard. each part of the costume as soon
as possible and practice wearing Students discuss and consider
• Petticoats or bustles can make anything that is not familiar. For feedback to:
a lot of rustling noise as can example, shoes, wigs, or period • To makes changes.
additional accessories. costumes. • Rehearse and ensure the two
scenes transitions smoothly
3. Upper body 4. Strategies for quick changes from one to the next.
• Shirts with tight sleeves can • Layered costumes. • Sustain tension and rhythm.
impede movement.
• Have a team to assist. After feedback and any
• Putting on and taking off 5. Maintenance and storage of subsequent changes, do a full
jackets, coats, capes, or costumes run of the two scenes with video
shawls can be problematic. • Need a place to hang them. and design elements. If videoing
• Gloves make it challenging to • No eating or drinking when in the scenes, watch it back as
grip props. costume. an ensemble and consider any
• Jewellery will need to have • Have a process for maintaining further changes.
multiple backups as pieces and mending costumes.
can be easily lost or broken.
SACE
DRAMA STAGE 1
Learning requirements
Analyse and evaluate
dramatic ideas, products
and/or technologies.
https://www.sace.sa.edu.
au/web/drama/stage-1/
subject-outline/learning-
requirements
Mood board for The Picture of Dorian Gray: Designer Marg Horwell
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 14PEER FEEDBACK When completing peer feedback - think about the story, how the interviews were used, energy, style, dynamics, expressive skills, and the work completed by the creative team. 1. I liked the way the story started with . .............................................................................................................................. because........................................................................................................................................................................................ ........................................................................................................................................................................................................ 2. An interesting part of the story was when...................................................................................................................... because........................................................................................................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ 3. The use of video/multi-media enhanced the narrative by.. ......................................................................................... ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ 4. What was the main theme of the presentation?............................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ 5. What did you learn from watching the performance?.................................................................................................. ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ 6. A question you have for the creative team:.................................................................................................................... ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ 7.If I was the director, the one thing I would like to change is........................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ ........................................................................................................................................................................................................ Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 15
After the show Questions for students to Refining their performance consider, discuss and write Following the performance of about after the show: The Picture of Dorian Gray, each • How did they feel at the end of creative team should discuss the production? their own performance in relation • What moment in the to their experience of the theatre production had the most production. They should ask: impact on them and why? • What would they change? • How did the production • What will they keep the same? explore image and youth? • Is there anything they would • How was the relationship like to add? between worth and • What distracts from telling appearance communicated? of the story? Can this be • Why did the designer include removed? an abundance of flowers on Based on this discussion, the and across the set? What did creative teams should refine they symbolise? Did you see and rehearse their scenes the hidden elements amongst from The Picture of Dorian the flowers? Why do you think Gray in preparation for the final these elements were hidden? performance. Why were they included? • Preoccupation with beauty One last thing and youth and the obsession Once the creative teams are with the process of ageing, ready to perform, they should gender, and self-performance complete a director’s statement is this something that remains reflecting on the elements of the relevant to people today. How production, including the: would you describe this to • Central idea of the production others? and the interpretation of their • What was the relationship scenes. between art and life? • Use of different production • How were corrupting effects techniques and technology. of obsessive self-regard • Ways in which the presented? performance challenges the • How was the terror of not conventions of the selected being able to know oneself text. spoken about? • There was recurrent motif of the selfie as symbolic of as an easy representation of the millennial culture. What was your reaction? Did you relate to this motif? Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 16
Meet the Company
Kip Williams - Director Little Fingers and Botanist, which Marg Horwell - Designer
Kip Williams is the Artistic Director was listed in ABC’s RAGE 50 list Sydney Theatre Company: The
of Sydney Theatre Company (STC). of the top music videos for 2009. Picture of Dorian Gray, Avalanche
In 2015, Kip won the Helpmann (with Barbican Theatre), How to
While at STC he has directed
Award for Best Direction of a Rule the World, The Histrionic (with
Julius Caesar, Playing Beatie
Play for his STC production of Malthouse). As Costume Designer:
Bow, The Picture of Dorian Gray,
Suddenly Last Summer. In 2016, Lord of the Flies, The Resistible
Lord of the Flies, Cat on a Hot
his production of Miss Julie won Rise of Arturo Ui. Other Theatre:
Tin Roof, A Cheery Soul, The
the Green Room Awards for Best English National Opera: Salome.
Harp in the South: Part One and
Production, Best Direction, and Malthouse: Because the Night
Part Two, The Resistible Rise of
Best Digital Media Design and (interiors), Blasted, Melancholia,
Arturo Ui, Three Sisters, Cloud
Integration. He also won the 2018 Bliss, Caravan, The Testament
Nine, Chimerica, A Midsummer
Sydney Theatre Award for Best of Mary, The Real and Imagined
Night’s Dream, All My Sons, The
Director for The Harp in the South: History of The Elephant Man,
Golden Age, Love and Information
Part One and Part Two which also Revolt She Said Revolt Again, The
(a co-production with Malthouse),
won Best Production and Best New Homosexuals Or ‘Faggots’ (with
Suddenly Last Summer, Children
Work. At the 2021 Sydney Theatre Griffin Theatre Company), Edward
of the Sun, Macbeth, Romeo and
Awards, Kip won Best Direction of II, I Am A Miracle, The Good Person
Juliet and Under Milk Wood, and
a Mainstage Production for The Of Szechuan. MTC: The House Of
was Associate Director on Andrew
Picture of Dorian Gray and the Bernarda Alba, Lilith The Jungle
Upton’s production of Cyrano de
production won Best Mainstage Girl, Birdland, I Call My Brothers,
Bergerac and Dramaturg on Sarah
Production. Peddling, Cock, Constellations,
Goodes’ production of Orlando. In
2016, he directed a reading and He has completed a Master of Marlin, The Dream Life of
short film of Daniel Keene’s The Dramatic Art in Directing at NIDA Butterflies, The Water Carriers,
Hungry Mile. and a Bachelor of Arts (Media and Circle Mirror Transformation.
Communication) at University of Victorian Opera: Lorelei. Circa:
For Melbourne Theatre Company,
Sydney. Kip now sits on NIDA’s Leviathan. Performing Lines:
Kip adapted and directed August
Board of Directors. Anthem. Belvoir: La Traviata, Nora.
Strindberg’s Miss Julie. For Sydney
Bell Shakespeare: The School for
Chamber Opera, he directed with
Wives. Griffin Theatre Company:
Elizabeth Gadsby a gender-flipped Eryn Jean Norvill - Performer,
Eight Gigabytes of Hardcore
production of The Rape of Lucretia Dramaturg and Creative Associate
Pornography, Summertime in
(a co-production with Victorian Sydney Theatre Company: The the Garden Of Eden. Dee and
Opera and Dark Mofo), An Index Picture of Dorian Gray, Three Cornelius: Love, Big Heart, SHIT,
of Metals, The Lighthouse, and Sisters, All My Sons, King Lear, Savages. Angus Cerini Doubletap:
the double bill Ich Habe Genug Suddenly Last Summer, Cyrano de Resplendence, Save For Crying,
and Nunc Dimittis. For Malthouse Bergerac, Romeo and Juliet. Other Chapters From The Pandemic,
Helium and US-A-UM he directed Theatre: Malthouse: Melancholia, Wretch. Chunky Move: Common
an all-female production of Lord The Government Inspector. Belvoir: Ground. Awards: 2005, 2007,
of the Flies, for Tamarama Rock The Government Inspector. MTC: 2009, 2013, 2015, 2016, 2019
Surfers he directed Fallout at Hamlet, Top Girls. Griffin Theatre Green Room Awards, 2013 Sydney
the Old Fitz Theatre, and for Company: The Boys. Western Theatre Awards.
the Sydney Writers’ Festival he Australian Symphony Orchestra:
directed 1001 Nights. For the Fidelio. Performing Lines: Anthem.
18th Biennale of Sydney, he As Writer, Dramaturg and Theatre Nick Schlieper - Lighting Designer
directed Through The Gates (also Maker: A Tiny Chorus, NICHE. Sydney Theatre Company: many
for Sydney Chamber Opera). For TV: PREPPERS. Awards: Sydney productions including Playing
Princeton Theatre, New Jersey, he Theatre Awards for Suddenly Beatie Bow, The Picture of Dorian
directed Fifth of July, for National Last Summer (2015), The Boys Gray, Wonnangatta, The Deep Blue
Theatre, Melbourne, he directed (2012), Truckstop (2012). Green Sea, The Real Thing, Cat on a Hot
One For the Road, and for NIDA he Room Awards for The Government Tin Roof, Mosquitoes, A Cheery
directed productions of Lord of the Inspector (2014), Top Girls (2012) Soul, The Harp in the South: Part
Flies and Samuel Beckett’s Not I. and Melbourne Fringe Festival One and Part Two, Saint Joan,
Kip directed the short films B, Bee People’s Choice Award: A Tiny The Resistible Rise of Arturo Ui,
and Mee and Walk, as well as music Chorus (2009). Three Sisters, Chimerica, All My
videos for Guineafowl, including Sons, King Lear, The Present,
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 17Switzerland, Macbeth, Waiting Wind in the Underground, Paper Awakening: A New Musical. Awards:
for Godot, The Maids, Gross Doll, The Wolves. KXT: A Girl is a 2021 Sydney Theatre Award–
und Klein, Uncle Vanya, Hedda Half-Formed Thing. Old 505: Little Best Stage Design of a Mainstage
Gabler, A Streetcar Named Desire, Borders. New Theatre: Chapel Production for The Picture of
The City. As Set and Lighting Perilous. New Fitz: Wind in the Dorian Gray, 2021 Sydney Theatre
Designer: Endgame, Face to Face, Underground Paper Doll. Periscope Award – Best Sound Design of a
Baal (with Malthouse), Death and Productions: Lemons Lemons Mainstage Production for Green
the Maiden (with MTC). Other Lemons Lemons Lemons. As Park. Training: NIDA.
Theatre: MTC: Macbeth, Richard Director: Sydney Chamber Opera:
III, Hamlet, The Visit, The Tempest Breaking Glass (Commute, The
Paige Rattray - Production
and Set and Lighting design for Invisible Bird). Red Line: Chorus.
Dramaturg
Photograph 51 and North By Seymour Centre: Unfinished Works.
Northwest. Malthouse: Set and New Theatre: The Cherry Orchard. Sydney Theatre Company: The
Lighting Design for Pompeii KXT: Transience. Edinburgh Fringe: Picture of Dorian Gray. As Director:
L.A. Belvoir: Packer and Sons, Chamber Pot Opera. PACT: The Death of a Salesman, Triple X
Ghosts, Twelfth Night, Measure Threepenny Opera. JackRabbit (with QT), The Deep Blue Sea, The
for Measure and Set and Lighting Theatre: FINDR. As Assistant Beauty Queen of Leenane, How
Design for Once in Royal David’s Director: Sydney Chamber Opera: to Rule the World, Black is the
City. Musicals: include Love Never La Passion de Simone, Notes New White (plus tours), Australian
Dies (Australia, Tokyo, Hamburg, from Underground. Sydney Graffiti, Power Plays, Boys will
USA), Priscilla (Australia, West Conservatorium: La Calisto. 2021 be boys. As Dramaturg: The
End, Broadway). Other overseas APRA AMCOS Art Music Award for Golden Age. Other Theatre: As
work includes productions for The Best Live Performance (Commute). Director: Belvoir: Fangirls (with QT,
Royal Shakespeare Co, the State Training: Sydney Conservatorium, ATYP and Brisbane Festival). QT:
Theatre companies of Bavaria NIDA. Hedda, Scenes from a Marriage,
and Hamburg, Schillertheater Switzerland. ARTHUR: Cut Snake,
Berlin, Theatre Clwyd Wales and Bright World (with Theatreworks),
David Bergman - Video Designer Return to Earth (with Griffin
the National Theatre of Norway.
Opera: many productions for Opera Sydney Theatre Company: Julius Independent), The Myth Project:
Australia including Tosca, Elixir Caesar, The Picture of Dorian Gray, Twin (with MTC NEON), The
of Love, Tannhäuser, Trovatore, Muriel’s Wedding: The Musical Midlands (with Mudlark), The Sea
Falstaff. Salzburg Festival: Lear, (with Global Creatures), The Project (with Griffin Independent,
Médée. Hamburg State Opera: Billy Hanging, The Effect (with QT), The Mudlark), Dirtyland (with The Spare
Budd, A Midsummer Night’s Dream. Long Way Home. As Video and Room). Milkcrate: This House
SOSA: Wagner’s Ring Cycle. Sound Designer: A Cheery Soul, is Mine. Walkley Foundation:
Awards: Six Green Room Awards, The Wharf Revue (2009-2018). As Storyology After Dark. Outback
6 Sydney Theatre Awards for Best Sound Designer: Playing Beatie Theatre: Beneath an Oxbow Lake
Lighting (Chimerica, The Serpent’s Bow. Other Theatre: As Video (with ATYP and Griffith Regional
Teeth, The War of the Roses, and Sound Designer: Luckiest Theatre). Positions: Sydney
Baal) and Best Set Design (Baal, Productions/The Hayes: Merrily Theatre Company: Associate
Endgame), and five Helpmann We Roll Along. As Composer and Director (current), Richard Wherrett
Awards (Bennelong, Bush, The War Sound Designer: National Theatre Fellow. Queensland Theatre:
of the Roses, Love Never Dies, of Parramatta: Zombie Thoughts. Associate Artistic Director. Griffin
Rosencrantz and Guildenstern Are Griffin Theatre Company: Green Theatre Company: Resident
Dead). Park, Superheroes, First Love is the Director, Affiliate Director. Awards:
Revolution. Darlinghurst Theatre Sydney Theatre Awards 2019
Company: Maggie Stone. STCSA: Best Direction of a Mainstage
Clemence Williams - Composer The Gospel According to Paul. Production for The Beauty Queen
and Sound Designer Seymour Centre: Made To Measure. of Leenane, 2019 Best Production
Sydney Theatre Company: Death NIDA: Salem, Another Country. of a Mainstage Musical for Fangirls.
of a Salesman, Grand Horizons, As Video Designer: Bangarra: Matilda Awards 2019 Best Musical
The Picture of Dorian Gray, Banging Sandsong, Spirit: A Retrospective. for Fangirls, Matilda Awards 2016
Denmark, Lethal Indifference. As Sydney Chamber Opera: Breaking Best Mainstage Production for
Associate Director: Fun Home (with Glass. Monkey Baa: Possum Magic, Switzerland. Recipient of a 2015
MTC). As Composer: Playing Beatie The Peasant Prince. Bangarra: Glorias Fellowship and 2016 Mike
Bow, A Cheery Soul. As Assistant Knowledge Ground. As Sound Walsh Fellowship. Training: NIDA.
Director: Saint Joan. Other Designer: SOH: RENT. Belvoir: Ian Michael - Assistant Director
Theatre: MTC: Heisenberg, Torch Packer and Sons. Monkey Baa: Ian is a Wilman Noongar man.
the Place, Arbus and West. Bell Josephine Wants To Dance. Sydney Theatre Company: The 7
Shakespeare: Romeo and Juliet. Curveball Creative: Who’s Your Stages of Grieving, The Picture
Belvoir: The Wolves. Ensemble: Baghdaddy. Hayes Theatre: The of Dorian Gray. Other Theatre:
A View from the Bridge. Old Fitz: Rise and Disguise of Elizabeth R, As Director: The Blue Room: The
Chorus, A View from the Bridge, Catch Me If You Can. ATYP: Spring Bleeding Tree. As Actor: Black
Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 18Swan State Theatre Company: City of Abandonment, Gold, Children of Gold (with STC), Cloudstreet, of the Corn, Judy and Punch, The Our Town, Let the Right One In. Drover’s Wife, Fantasy Island, Lego Malthouse: Cloudstreet, Blak Ninjago Movie, Alien Covenant, Cabaret. Yirra Yaakin: The Noongar Hacksaw Ridge, Crouching Tiger Shakespeare Project. She Said Hidden Dragon: The Green Legend, Theatre: HART, Laika and Wills. 2:22, I am Mother, The Daughter, MTC: The Kid. Ilbijerri Theatre Stranger Land, Backtrack, Slow Company: Flashblaks, Northwest West, Adore, Lemon Tree Passage, of Nowhere. Mooghalin Performing Wolf Creek 2, Evil Dead, Careless Arts/Sydney Festival: Yellamundie Love, Killer Elite, Uninhabited, Not First People’s Playwriting Festival. Suitable for Children, Lagaan, As Assistant Director: Black Swan The Search for John Gissing, State Theatre Company: The Best: His Mother’s Son, Slaughter, Cherry Orchard. Black Swan State Outcast. TV: Narcos: Mexico, Theatre Company/Yirra Yaakin: Wakefield, The End, The Unlisted, Skylab. As Writer: Black Swan Black Comedy, Easybeats, Doctor State Theatre Company: York. Doctor, Banished, Underbelly, My Critical Stages/Paines Plough: Kitchen Rules, The Scouting Book Another Day in the Colony. She for Boys, Holby City, Eastenders, SaidTheatre: HART. Film: Where The Bill. Positions: Teaching are the Warriors? Positions: Black positions at NIDA, Actors’ Centre, Swan State Theatre Company: Central School of Speech and Artistic Associate (2021), Resident Drama, Drama Centre, Mountview Artist (2018-2020) , Sydney Academy of Theatre Arts and Theatre Company Richard Wherret Theatre Academy of Live and Fellowship 2022. Other: Black Recorded Arts. Training: Central Swan State Theatre Company: School of Speech and Drama. Maali Festival (Curator). Awards: 2019 and 2017 Best Actor PAWA Awards. 2019 CHASS Australia Prize for a Future Leader. 2019 Western Australian of the Year (Finalist - Youth Award). 2016 Best Emerging Artist Adelaide Fringe (HART). 2016 Best Production (Independent) Green Room Awards (Nominated – HART). 2013 and 2015 Most Outstanding Indigenous Performer Melbourne Fringe (HART and Laika and Wills). Training: WAAPA. Danielle Roffe - Voice and Text Coach Sydney Theatre Company: Home, I’m Darling, Appropriate, Playing Beatie Bow, The Picture of Dorian Gray, Rules for Living, Wonnangatta, Pygmalion, Tusk (with ATYP), Like a Fishbone (with Griffin Theatre Company). Other Theatre: Belvoir: The Cherry Orchard, Miss Julie, Gethsemane, That Face, The Power of Yes, Stories I Want to Tell You, In Person, Lonesome West. Griffin Theatre Company: Family Values. Sydney Opera House: South Pacific, The History Boys. The Old Fitz: Anatomy of a Suicide. Darlinghurst Theatre Company: The Pride. Film: Days Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 19
Additional Resources REVIEWS Honi Soit – Sydney Theatre Company’s The Picture of Dorian Gray – by Nathaniel Gleeson 19 January 2021 - http://honisoit.com/2021/01/review-sydney-theatre-companys-the-picture-of-dorian-gray/ The Guardian – The Picture of Dorian Gray review – Eryn Jean Norvill dazzles in ambitious, whip-smart production. By Cassie Tongue 29 November 2020 - https://www.theguardian.com/stage/2020/nov/29/the- picture-of-dorian-gray-review-eryn-jean-norvill-dazzles-in-ambitious-whip-smart-production Arts Hub Theatre Review: STC’s The Picture of Dorian Gray, Roslyn Packer Theatre by Judith Greenway 30 November 2020. https://www.artshub.com.au/news/reviews/theatre-review-stcs-the-picture-of-dorian- gray-roslyn-packer-theatre-261537-2369293/ The Queer Review – Theatre Review: The Picture of Dorian Gray (Sydney Theatre Company – by Chad Armstrong 12 December 2020 - https://thequeerreview.com/2020/12/12/theatre-review-the-picture-of- dorian-gray-sydney-theatre-company/ The Conversation – The Picture of Dorian Grey re view: Eryn Jean Norvill stuns in all 26 roles – by Huw Griffiths - https://theconversation.com/the-picture-of-dorian-grey-review-eryn-jean-norvill-stuns-in-all- 26-roles-150165 Time Out – The Picture of Dorian Gray – by Maxim Boon 2 December 2020 https://www.timeout.com/sydney/theatre/the-picture-of-dorian-gray View – The Picture of Dorian Gray by Jason Blake 20 October 2021 https://www.audreyjournal.com.au/arts/the-picture-of-dorian-gray-review/ Australian Book Review 30 November 2020 Yielding to Temptation Kip William’s take on The Picture of Dorian Gray https://www.australianbookreview.com.au/arts-update/101-arts-update/7171-the-picture-of-dorian-gray- sydney-theatre-company The Picture of Dorian Gray review – Eryn Jean Norvill dazzles in ambitious, whip-smart production https://www.theguardian.com/stage/2020/nov/29/the-picture-of-dorian-gray-review-eryn-jean-norvill- dazzles-in-ambitious-whip-smart-production Audrey Journal https://docs.google.com/document/d/1Df7IvPs5MlaU7Hg5un9B8b5xmRoMgNaSmdIo_NxBL48/edit Adelaide Festival 2022 The Picture of Dorian Gray | Education Resource 20
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