{dance} – Page 15 – { feuilleton }

Matthew Bourne’s Dorian Gray

Dorian (Richard Winsor) photographed by Bill Cooper.

Matthew Bourne‘s new dance version of Dorian Gray opens today at the Sadler’s Wells Theatre, London, and I’d have been interested in this production even without visions like the ones above and below; the eye candy merely adds an additional frisson and, let’s face it, there’s always been an erotic component to dance and ballet however high-minded the intention. Bourne famously gave the world the a Swan Lake with male swans and in Dorian Gray updates Wilde in a very contemporary manner (following Will Self’s Dorian: An Imitation and Duncan Roy’s recent film adaptation) with the gay subtext made an overt text.

Set in the image-obsessed world of contemporary art and politics, Matthew Bourne’s ‘black fairy tale’ tells the story of an exceptionally alluring young man who makes a pact with the devil. Amongst London’s beautiful people, Dorian Gray is the ‘It Boy’ – an icon of beauty and truth in an increasingly ugly world.

The destructive power of beauty, the blind pursuit of pleasure and the darkness and corruption that lie beneath the charming façade; the themes behind Oscar Wilde’s cautionary tale have never been more timely.

Richard Winsor again, photographed by Murdo Macleod.

Dorian Gray continues the gender-reversals with Lord Henry becoming Lady H, while Sybil Vane is transmuted to Cyril. I like the stage design detail where the customary nightclub glitterball becomes a version of Damien Hirst’s diamond-encrusted human skull, the expensive artworld bauble finding its own level at last as a piece of decoration. Updating stories in this way often provokes a feeling of ambivalence—removing the subtext can have the effect of diluting the tension which lies at the heart of the work—but the continual refashioning of Wilde’s fable has confirmed its status as a contemporary myth, something I’m sure he’d be very pleased about. In that respect, it gives the creator the immortality through art which his creation, in the closing pages of the story, is denied.

• Because Wilde’s worth it | Matthew Bourne discusses the production
• Review in The Independent
• Bill Cooper’s production photos
• Wilde at heart: Matthew Bourne’s Dorian Gray | Another photo gallery

Elsewhere on { feuilleton }
• The Oscar Wilde archive

John Osborne’s Dorian Gray

I wrote recently about John Selwyn Gilbert’s television play, Aubrey, an hour-long drama concerning the artist Aubrey Beardsley. The play was only screened once in 1982 and, like most one-off studio works of the period, is unavailable on DVD. John Osborne’s 1976 adaptation of The Picture of Dorian Gray is a welcome exception to this neglect and can be acquired in a box set along with three BBC productions of Wilde’s plays and a more recent Wilde documentary.

The stage plays are decent enough although the cast in the 1952 film version of The Importance of Being Earnest takes some beating. Dorian Gray is for me the essential work in the collection, even if its 100-minute running time cuts the story to the bone. The principal attraction in an entirely studio-bound work with few actors is the leads, and for this we have two great performances from John Gielgud as Lord Henry and Jeremy Brett as artist Basil Hallward. The tragic Dorian is played by Peter Firth who has difficulty keeping up with these heavyweights, especially in the later scenes when the story concentrates more fully on his predicament. Matters aren’t helped by his Yorkshire accent which frequently rises to the surface in a manner that would surely raise eyebrows in Mayfair drawing rooms.

Lord Henry & Basil Hallward admire the portrait.

Continue reading “John Osborne’s Dorian Gray”

Because Wilde’s worth it

Because Wilde’s worth it
| Matthew Bourne makes Dorian gay.

The Feminine Sphinx

Colette.

Work this week designing a CD of readings from Colette had me searching books for pictures of the author. Of the few I found this is the most interesting, one of several Colette portraits made by photographer Leopold Reutlinger and one of at least two from 1907 which Colette used to promote her Moulin Rouge pantomime, Rêve d’Égypte. (You can see another one here.) The Egyptian theme explains the sphinx pose and her costume but there’s no indication as to whether the pose was borrowed from Franz Stuck’s famous painting (below) or whether the resemblance is coincidental.

The Sphinx by Franz Stuck (1889).

Stuck produced two nearly identical paintings on this theme; the other version is here in a rather muddy copy. I like the frame design for this one which explains in pictures the secret of the famous riddle which the Sphinx asks of Oedipus, “Which creature goes on four feet in the morning, two feet at noon, and three in the evening?” Stuck painted another sphinx picture three years earlier, The Kiss of the Sphinx, which portrays a less feminine and distinctly more rapacious hybrid.

Ida Rubenstein.

Colette was famously bisexual and so too was dancer Ida Rubenstein. In the same book as the Colette picture, there’s this photo of Ida recumbent in a sphinx-like pose in a very exotic boudoir. Photographs such as these are the material connection between the extravagances of the fin de siècle and the Decadent strain of early cinema in works such as Cabiria (written by Ida Rubenstein’s friend Gabriele D’Annunzio), Intolerance and (of course) Alla Nazimova’s Salomé.

Previously on { feuilleton }
• The art of Heidi Taillefer
• Dorian Gray revisited
• Beardsley’s Salomé
• Lussuria, Invidia, Superbia
• Alla Nazimova’s Salomé
• The art of Giulio Aristide Sartorio, 1860–1932

The recurrent pose 17

The Flandrin pose again, this time in a photograph by George Platt Lynes (1907–1955). This is from a Flickr set of Lynes’ work which was a nice find since many of the web collections are small and tend to repeat the same material.

The picture above isn’t from the Flickr set, it’s a scan from Philip Core’s essential Camp: The Lie that Tells the Truth (1984), and a photograph that long fascinated me for completely unwholesome and inartistic reasons. Core credits it only as depicting dancers from Balanchine’s Icarus but I’d suspected for some time it was a Lynes picture, Lynes having photographed Balanchine’s dancers on several occasions, notably in some nude stagings of Orpheus. The Flickr picture below confirms the Lynes origin although it adds a new layer of mystery by crediting it to Balanchine’s Die Fledermaus. Given the very Classical look of the dancers’ costumes I suspect Core has the correct attribution but the confusion is also an excuse to keep searching.

Elsewhere on { feuilleton }
• The recurrent pose archive

Previously on { feuilleton }
• Philip Core and George Quaintance
• George Platt Lynes