Cappies Review: The Picture of Dorian Gray At Justice High School

By Anneliese Odegard of Wakefield High School

Button down your waistcoats and lace up your corsets, because Justice High School whisks audiences back to a Victorian-era London full of both virtue and vice in their production of The Picture of Dorian Gray.

Originally based on the 1891 novel written by Oscar Wilde, the story has since been adapted for the stage by Neil Bartlett. The play is lifted from the text of the novel, which follows the tale of a charming Dorian Gray, who grows a vehement obsession with preserving his youth and beauty after receiving a painting of himself-leaving a path of death, destruction, and insanity in his wake.

The production was stunningly haunting in all regards, from the sweeping musical ambiance to the miniscule-yet-impactful facial acting of the leading cast. Supporting this was the striking immersion of the performance; the small space was transformed into something far more than simply a theater with the help of the unique cross-shaped stage and intricately designed movement of the cast. Their proximity allowed the performers to interact intently with the audience using as little as a well-placed glance or nod. While the show stayed gorgeously faithful to the historical setting and characterization, both cast and crew brought an original charm to the performance that rendered it exquisite.

Elijah Kassa, as Dorian Gray, delivered a truly riveting performance. Kassa opened with warmth and naiveté, making the character's descent into wicked insanity all the more striking. This transition from spirited glamour to murderous vanity never once faltered in its portrayal. Through serpentine strides, obsessive fiddling with the gaudy rings adorning the character's fingers, and infectious, convincing panic, it was clear as Gray's crystal decanter that Kassa committed entirely to the role and executed it with the same vigor.

Acting as Gray's corrupting elder was Lord Henry Wotton, played by Sofia Hemmens. Hemmens' influence both on Gray and the audience was extraordinary, enrapturing all present with a charismatic prowl and an entrancing, metronomic accent. Embodying the contrast to this presence was Valeria Peterson as Basil, who brought a wide-eyed youthfulness to the stage that only served to emphasize the heart-wrenching agony of the character's longing stares and salient confession of affection toward Gray. Abigail Leegwater as Gray's fleeting love interest, Sybil Vane, also demonstrated an ethereal innocence that wonderfully contrasted the sharpness of Kassa's characterization, but which was soon replaced by a disdainful vengeance as she joined the list of Gray's unwitting victims.

A highlight of the show was the costuming, by Emy Fase, Abigail Leegwater, Bailey Farkas, and Laryssa R. Wilkins, which was clearly both conceptualized and created with care. As years passed throughout the story, the costuming evolved to match-not just in the impressively quick age transformations of the characters, but also in the period-accurate styles which shifted seamlessly from decade to decade. Also integral to the show was the myriad of props, by Jasper Geer, Ellie Juarez, Laryssa R. Wilkins, and Nour Abbas. Standouts in this department were the glinting dagger, eye-catchingly real-seeming cigarettes (lit with an actual match), and an antique wheelchair. The sound production, headed by Ketan Kane, supplied the show with an apt selection of classical music that played throughout each scene transition, mirroring the events of the story and preventing any break in the captivating production.

Through its cohesive ensemble cast, beautifully produced visual arrangement, and bold presentation in both performance and technical endeavors, the show was a production in which each aspect felt perfectly in its element. Justice High School's The Picture of Dorian Gray used Victorian wit and charm to remind the audience of the painful, beautiful necessity of ephemerality.