Video: Inside Opening Night of THE PICTURE OF DORIAN GRAY with Sarah Snook
Mar 29, 2025
The stars came out to celebrate last night at the Music Box Theatre, where the Sydney Theatre Company production of The Picture of Dorian Gray celebrated its opening night. Go inside the big night with Sarah Snook and more in this video.
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It's pretty wild, which should be no pun intended, but also pun intended, I guess
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Yeah, it's fantastic. It's amazing. Hello, I'm Richard Ridge for Broadway World
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Olivier Emmy and Golden Globe Award winner Sarah Snoke is making her Broadway debut in Oscar Wilde's
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the picture of Dorian Gray, which adapted and directed by Kip Williams, and we're here on opening night
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What's making it so special with doing this show here and introducing it to a whole new audience
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especially a young audience? I think it's, you know, partly in a kind of a spirit of Oscar
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where he really found fame first of all in America where American audiences really accepted him
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and it seems in that kind of way that it's nice to bring this kind of show back to America in that way
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and have him have a second wave in a sense. And for young audiences to be able to discover
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the brilliant mind of Oscar Wilde. It's really exciting. I've seen so many people
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young people in the stage door after the show. And I'm blown away by how many people engage with it and really respond to it
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What I love is everybody knows you from television and everything else. You know, we all had that time when we saw someone
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We're like, oh my gosh, they do this live. And you're introducing them to a whole new world
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Yeah, some people have said that it's the first Broadway show they've ever seen, which is really exciting
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You know, it's a dream of mine to have been on the stage here. And I've been working in Australia and then obviously did this in London
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the West End And so we had to open a show on Broadway and be the lead of the show And it pretty extraordinary You perfection in this show watching you work the cameras work the audience
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keeping the live going. I mean, you're razor sharp. Like, what kind of conversations did you and Kip have when you
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because you're being directed for camera and for the state? Yeah, yeah. I mean, there isn't really a difference between in how we approach this particular project
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between stage and screen acting, I suppose. there is a real commitment to mining for the truth
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and Kipp's a brilliant director. It means, you know, I get notes every night
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Which is, oh, yeah. We can never perfect it. You know, it's always, there's too much
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There's too much that could go wrong or too much that could go right. And so it's finding new things
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Like the other night, there was something that came up that I realized, oh, that's actually connected to that
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I never realized that probably in The Odyssey of the Senses, Doreen met Alan Campbell, who's the chemist
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in the first phase where he was doing the perfume. Oh, that's delicious
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So I just realized that the other night. That's great. So you learn new things every day. Always, always
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There's new things to find. You know, it's a whole world, the whole personality of 26 different people
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so you've got to find them. The relevance of this piece, I mean, why it works so well today
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in generation, ever generation? Well, I mean, I feel like Oscoa was a prophet of sorts
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I mean, he, at the sort of end of the Victorian era, was looking at the world that was starting to become obsessed with appearance
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and obsessed with being young, and obsessed with beauty. And really he conceived of a story
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that actually speaks directly to the way in which those obsessions have become the center point of our lives today So he could have been writing about the 21st century even though it was 130 years ago Collaborating with Sarah what that journey has been like for you Yeah I mean it been a dream It been the biggest joy of my life I mean she is obviously
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a genius actor, but also an incredibly nice person. And then she has this relentless work ethic
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She just wants to keep going further and further. And a show that's as complex of this requires
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an actor who really wants to work hard and who wants to climb the Everest. And I've never experienced
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somebody who wants to climb higher and faster than Sarah does. So it's been a dream. It's been amazing
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Well, you've designed the sets and the costumes to this show, wearing two hats
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I mean, talk about the wardrobe, because things layer on top of layers, right? Yeah, it's a kind of like a crazy capsule collection
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for characters that can build on top of each other and change very quickly
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So it's something that we had to design to work on stage before we could commit it to film
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You see a lot of the characters on stage in pre-recorded content, so it has to be something that we can replicate quickly and easily
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but still be kind of made of incredible excess and beauty and aesthetics
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which is kind of at the core of the language and the visual imagery from Oscar Wilde's novel
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Remember there's the beautiful sets, and it's so theatrical of us watching it all change
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Yeah, we, secretly I just adore old school theatre. I love kind of things that people move around with their hands and paint with their hands
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So all of the set has been made with theatre in mind and a love of theatre in mind, and it's been hand-painted and a beautiful group of people making very kind of manual
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beautiful old theatre things to be seen on camera so that they work together in a kind of technology and non way It very nostalgic I think What was the biggest challenge for you Was it figuring out how it would look on camera how it would look to the audience Like what was that
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It's exactly that, it's managing that balancing act. It's got to work on, like
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the whole premise of the show is that it is two forms combined
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seamlessly, effortlessly, that kind of talk to each other and inform each other
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So it's got to work on both levels the whole time. And that's tricky
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And collaborating with your director, Kip Williams, and collaborating with Sarah, what that's been like for you, what it's meant to you
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This is my many-year-th show with Kip. I can't tell you off the top of my head
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So that's joy always. And it's seven or eight years since I've worked with Sarah. So that's wonderful
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Oh, I mean, it's been such a journey over the years to kind of craft
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And in the initial formation, it was such a, it was such a painful perthing process
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because there's like so many interleaving elements and there's so many so many moving elements
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in creating this live composition every night and there's so much work to be done behind the scenes
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to create it and to like all the planning in all the in all the in all the content that is pre-shot
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before all the audience get in there's like there's months and months of work has gone into
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the show before the audience steps on stay before the audience. comes into the theatre. And then, of course, once the audience are in there, the last 80
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is done live in front of the audience's eyes, which is very exciting
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