UJ Arts and Culture's production of The Picture of Dorian Gray is a stage adaptation of Oscar Wilde's classic novel by famous British playwright, Neil Bartlett.
It's a gothic tale about vanity, morality, and corruption. The protagonist Dorian Gray – a ridiculously handsome young man – has his portrait painted and, after realising his beauty will fade, makes a wish that the portrait ages, instead of him. Surprisingly, his wish comes true. Gray then dives into a life of hedonism and moral decay with little regard for others. All the while, Gray remains eternally youthful as the portrait absorbs and reflects his sins. But of course, there's a price to pay for unchecked indulgence.
It's a Friday afternoon when we swap our laptops for a 'playdate' with vanity, to go behind the scenes with the cast and crew of the play by UJ Arts & Culture as they workshop this adaptation in an informal rehearsal.
As we open the foyer doors of the theatre, it’s hard to tell if we're at the right place – it's completely silent. Once we enter the rehearsal space, we see the cast (made up of UJ Arts Academy actors as well as Market Theatre Foundation's Kwasha! Theatre Company) standing on stage, hands joined as if in prayer (perhaps for the props to behave, since we've been warned this is their debut too).
Seated in the intimate, 160-seater theatre for the rehearsal, are director Jade Bowers and our host, UJ Marketing Manager Lakin Morgan-Baatjies. She mentions this is the first rehearsal of this kind for the cast, who have been rehearsing in a studio until now. Other important members of the production team, Hayleigh Evans of POPArt and Gerard Bester, head of the Windybrow Arts Centre representing Kwasha! are in attendance too. (For more on Bester read: #MyJoburg interview.) There are also two sign language interpreters, figuring out how to translate this dynamic, multi-layered performance for two special showings of the production for the deaf community on [add dates if you can find them].
We know we're in good company, with many major players in Joburg's theatre scene present and contributing their talents and expertise to this collaborative production.
Just before the rehearsal performance, we see the stage design model by second-year Faculty of Art, Design, and Architecture (FADA) students, which hints that time is a central theme. Since this is a rehearsal in a different space, we hope the execution delivers in the Keorapetse William Kgositsile Theatre, Kingsway Campus, which seats 428. While the actors are in civvies at this rehearsal, the costumes you'll see in the final show are also by FADA students.
Watching the rehearsal of The Picture of Dorian Gray
In exploring this 1890s gothic novel, visual devices like an easel, ostensibly holding the infamous painting of Gray, and a rotating stage are part of the action.
Jaques De Silva plays Dorian Gray – the young man whose portrait, painted by the devoted artist Basil Hallward (Sanelisiwe Yekani), mysteriously ages while he remains forever youthful. Influenced by the hedonistic Lord Henry Wotton (Andreas Damm), Gray indulges in a life of excess and moral decay, committing cruel and selfish acts seemingly without facing any visible consequences. Things get dark fast and the sins he accumulates are reflected in his increasingly grotesque portrait. Gray’s housekeeper, Mrs Leaf (Liezl De Kock), evolves too as these events unfold.
The seven-member supporting cast, or chorus, from Kwasha! Theatre Company brings energy and intrigue as they portray the inner and hidden truths behind the main characters' actions. Some also take on theatrical roles, including Dorian’s first love, Sibyl Vane, her brother James Vane, and their mother, Mrs. Vane. Their ability to seamlessly transition between ensemble and character roles adds to the production’s dynamism.
With a novel as old and philosophical as this one, you never really know what a modern-day stage adaptation would look like – but, the appreciation that the talented cast of UJ Arts Academy and members of the Kwasha! Theatre Company have of this story is evident throughout the run.
The production comprises a total of 27 scenes, with Act 1 featuring 17 scenes, followed by a 15-minute intermission, and Act 2 consisting of 10 scenes. The premise is fascinating, and the possibilities of having Wilde’s dark vision illuminated are exciting. In Act 1, we are introduced to the characters, their personalities, and the dynamics between them – laying a pivotal foundation. The scenes are intense, with cigarettes being lit on stage, while the Victorian era in which this play is set is established by men playfully embodying high-class ladies, fluttering their fans with just the right amount of exaggerated grace and fixating endlessly on good looks.
As the rehearsal unfolds, the director, script runners, and the rest of the production team are furiously scribbling notes.
For the very short Act 2, we request access to the backstage area for a closer look behind the scenes. It is intriguing to have a front-row seat to the chaotic dance of props like chairs, feather boas, guns, and cigarettes being shuffled on and off stage. We get a glimpse into the emotional roller coaster actors ride backstage between performing their lines.
In this second act, the transformation of the painting takes centre stage, more philosophical dialogue happens between characters, and Gray finally faces the consequences of his selfish behaviour.
Reflections from the cast: Moving from rehearsals to the final show
For Jacques De Silva, embodying Dorian Gray means stepping into the mind of a man teetering between vanity and self-destruction. "It’s like playing with the image of an ice block in water – figuring out if Dorian is becoming who he always was or evolving into something entirely different."
Physicality plays a huge role in his approach. "I experiment with different movements until something clicks. Dorian is like a boxer – always on guard, but every movement betrays something deeper," De Silve says.
And the biggest challenge? According to De Silva, "Rehearsals are like a lab. But nothing prepares you for actual people breathing and watching you experiment. That’s where it gets real."
For Andreas Damm, the toughest moment comes at the end, when his once-charming, hedonistic Lord Henry is left aged and broken. "He’s become everything he detests – haggard, wrinkled, struggling." The transition from rehearsal to performance was exposing. "I speak directly to the audience, and actually seeing their faces staring back at me? Unexpectedly intimidating. It’s one thing to prepare, another to feel their presence. It gave me real butterflies – but I loved it," he tells us.
Sanelisiwe Yekani describes her biggest challenge as balancing heightened theatricality with raw emotion. "Scene 12, where Basil confesses his feelings for Dorian, is tricky. The play shifts between melodrama and realism, and finding that balance is a thrill."
Beyond her role, Yekani finds joy in witnessing the ensemble’s growth, particularly the members of Kwasha! Theatre Company. "I love seeing them as a chorus, but even more when they step into individual roles. There’s something beautiful about watching their unique strengths and styles emerge," she says. As a lecturer at Wits University’s Theatre and Performance department, she also takes pride in seeing former students thrive. "They’re shining, they’re killing it on stage – I love it!"
Thoughts on the production and its relevance today
The purpose of the rehearsal process is precisely to iron out the kinks and polish the final performance, so we can't judge what you'll see when you watch this in its final form. The cast delivered strong performances and we were right there with them for much of it. But some moments that felt like they were trying a little too hard to carry scenes that didn't quite fit – or perhaps didn't need to be there at all. Some parts dragged and by the time Act 1 wrapped up, it felt like we'd been waiting for the 'big moment' longer than we should. It will be fascinating to see how this plays out when performed for live audiences.One constant? The intimacy. This production has plenty of close, intense moments, and it was impressive to see the cast handle them so seamlessly without breaking character. Seeing it unfold live, with nowhere to hide, felt unique. We were on the edge of our seats.
The stage production of The Picture of Dorian Gray holds particular relevance for our society today, where questions of identity, morality, and identity intersect sharply with contemporary issues of social media obsession and self-perception. The novel’s exploration of appearance versus reality feels especially poignant in an era dominated by curated online personas and the pressure to maintain a flawless image. Watching De Silva as Gray, wielding his mirror, obsessing over himself, we felt it wouldn't have been out of place to have swapped this with a modern-day cellphone. The symbolic resonance is all there.
Morgan-Baatjies says the production was chosen for the stage because the book is part of a Grade 12 English setwork. Some of the performances are to be specifically performed for school audiences. This adds another layer of significance – bringing the text to life for South African learners beyond the classroom in a way that lets them engage with its themes more immediately.
Book tickets for The Picture of Dorian Gray
From Tue, Mar 4 – Sun, Mar 16, lovers of literature and theatre can watch a compelling, emotionally charged, and challenging staging of The Picture of Dorian Gray at Keorapetse William Kgositsile Theatre at UJ's Kingsway Campus in Auckland Park. In the interest of inclusivity, two performances will include a sign language interpreter for hearing-impaired audiences. Tickets are R80 – R120 p.p. Book your seats here.
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