Caro Meets Musicals & Opera Interview Theatre Interview

Linnie Reedman: Adapting Dorian Gray

By Caro Moses | Published on Wednesday 23 April 2014

Much has been made of the celebrity connections of two of the stars of this production – one is Daisy Bevan, daughter of Joely Richardson and (it follows) granddaughter of Vanessa Redgrave, the other Jack Fox, son of James Fox, nephew of Edward – but that’s not why I did this Q&A. Because, as people who know me may know, I’m not really much of a celebrity hunter.

I am, however, a fan of Oscar Wilde, and avidly read his only book ‘The Picture Of Dorian Gray’ some years back. When I heard about this production, I was intrigued to hear how the text had been adapted to the stage, and how a musical element might fit into it, so I sent some questions over to director Linnie Reedman.

CM: What attracted you to the idea of adapting ‘Dorian Gray’ for the stage?
LR: The story is such a compelling one with many strong messages. It has elements of Gothic drama, darkness and beauty. Most of all the terribly sad, tragic journey that the central character has to make. I am also attracted to stories that show scope for striking visual images.

CM: How easy was it to adapt the book? How do you approach the process of turning text to script? Did you feel a sense of responsibility to its distinguished author…?
LR: I feel a huge responsibility to the author. Which is why I have used much of the beautiful original prose and some of Wilde’s famous quotes. I also kept the essence and style of the book but made the language a little more accessible for the actors to use. I tried to avoid as much exposition as possible by enlarging the cameo character of Mr Isaacs the theatre manager and turning him into an interesting character in his own right with his own agenda. He therefore becomes a vehicle for telling us the story as an act of revenge for the death of Sibyl Vane. He is just as haunted by events as Dorian is haunted by the portrait. I also felt a responsibility to illustrate Dorian’s suffering and to show his efforts at redemption.

CM: What made you feel that the story would work as a musical?
LR: It is not a musical in the traditional sense of characters singing to progress the story. The songs and the music serve more of a Greek chorus function – to comment and add atmosphere. Sometimes to even foreshadow. It is interesting that Dorian in the novel is actually a gifted pianist so there are musical references to this. The theatre that Mr Isaacs operates is of a music hall variety so that too provides some scope for music and song. The “ghosts” that haunt Dorian are masked theatre actors expressing themselves through song outside of the action on stage.

CM: In this day and age, when there’s an ever increasing emphasis on looks, and beauty and youthfulness, do you think the story of Dorian Gray is more relevant than ever?
LR: In discussions with the cast during initial rehearsals we discovered an increasingly more relevant theme. Dorian is given a book by Lord Henry which is recognised to be the French novel  ‘Au Rebours’. Dorian is immediately influenced by the hero of that novel, a French Duke consumed with a thirst to discover all life has to offer – to experience the ultimate sensation. In a world where life expectancy is increased and where the rich and celebrated manage to hold on to youthful looks and lifestyle well into advancing years there seems to be an increase in relatively young suicides. As though there has been a surfeit of life. The thirst for having it all and obsessions with beauty, art and fashion lead to a sense of awful unbearable melancholia as evidenced by the likes of Isabella Blow, Alexander McQueen and possibly even L’Wren Scott. Other extreme deaths such as that of Michael Hutchence also have parallels. When visiting the Isabella Blow exhibition I felt some sense of the issues explored in ‘Dorian Gray’. He made a whimsical wish to retain his youthful looks but his demise was more about the decadence of his life so glaringly illustrated on canvas – one that only he should see.

CM: You are a co-founder of your producing company Ruby In The Dust. How and why did it come together? What are your aims?
LR: The company was formed initially to present classical or well known stories in a different light. To find a twist and explore less commercial themes in these stories, to allow our audiences to go away with new thoughts and ideas. To make some classical stories more accessible for new audiences. We also wanted to put more of an emphasis on musical content and visual image. However in the short years of our own development, theatre in general has progressed radically and it is now more commonplace to use this treatment. Nevertheless we continue to look at the classics and continue to be excited by the possibilities that great literature offers. We also pride ourselves on discovering and nurturing new talent. It is part of the ethos of Ruby in the Dust to allow actors to develop their craft in a brave and creative expression of their own skills.

CM: Since you formed Ruby In The Dust in 2006, you’ve co-created twelve different productions. Do you have a favourite amongst them?
LR: It is interesting that each current production becomes our all consuming passion. However by dint of this being our fifth outing of ‘Dorian Gray’, it must one of our favourites.

CM: What’s next for the company?
LR: We are currently work-shopping our production of ‘The Great Gatsby’ for its West End transfer in 2015. We also have a new adaptation of Collette’s ‘Cheri’ in the pipeline. I have also written a biographical play about the Russian actress Vera Kommisarevskya entitled ‘Varenka’. And in development we have a brand new play  ‘My Dark Angel’.

‘Dorian Gray’ is on at Riverside Studios until 10 May, see the venue website for info and tickets.

LINKS: www.rubyinthedusttheatre.com | www.riversidestudios.co.uk | twitter.com/_RUBYINTHEDUST_