Dorian’s Descent

Reviewed by Lovell Estell III

Based on Oscar Wilde’s esteemed (and quite infamous at the time) novel The Picture of Dorian Gray, director Marco Gomez’s modish musical doesn’t do justice to the source material. Gomez, Michael Gray and Chris Raymond’s book features the basics of the tale: Dorian’s (Michael D’Elia) overwhelming angst about the reality of fading beauty, old age and mortality results in his making a pact with a Demon (Toni Smith), whereby only a portrait of him, painted by his friend Basil (Jeremy Saje), will age.

He soon falls under the sway of the unapologetic hedonist Henry (played with spot-on, alluring shamelessness by Kelly Brighton), and is ensnared in a life of debauchery and, ultimately, spiritual then physical death.

It isn’t Dorian’s sad demise that torpedoes this production, but the torpid route that it takes. Act 1 runs an anaesthetizing two hours, with far too much time spent at Henry’s preferred flesh palaces, too much feckless romance, needless chatter, faux-drama and too much authorial hopscotching. Things don’t appreciably improve in Act 2, though other aspects of the production help to redeem it.

Alison Schenker’s props are well-designed and cleverly integrated into John Iacovelli’s spooky set (handsomely accented by an overhead mandala adorned with medieval alchemical symbols). Gomez and musical director Chris Raymond’s music and lyrics are evocative and smartly written, complemented by the cast’s wonderful voices. Tania Possick’s choreography is flashy and sharply executed, and Michael Mullen’s well-imagined costumes are exquisite.

The Met Theatre, 1089 Oxford Ave., Hlywd.; Fri.-Sat., 8 pm.; Sun., 3 pm. (dark July 4); through July 20. (323) 802-4990, www.doriansdescent.com