Essentially, she has herself as her scene partner over and over again striking likely a thousand essential camera poises to make the magic come true.  It is truly a tour de force that easily needs to be awarded by any theatrical award.  I loved it.  My only criticisms, few that they are – is that I do worry that the technology film can provide for film is now so good and so seductive it is inching live theatre more and more into the wings.  Theatre is still live – but I do worry.  In this production I do think they perhaps missed an opportunity not to set this production in the modern day where they have more fully explored ender, sexuality, aging, self-image, body dysmorphia, and the glorification of youth and beauty.  Oscar Wilde opened that door but imagine what this production could have done with that.  I also that that Dorian was not much of a sex symbol. He wears a silly curly wig and does not provide the necessary sexual tension between Dorian, Basil and Henry.  he is meant to be the exemplar of a Victorian twink whom everyone lusts after. Snook’s Dorian is not an aesthetic ideal — he is a joke, giggling as he takes a selfie flashing a peace sign. 

Sarah Snook gives us a remarkable evening in the theatre.  She stretches the very definition of what theatre and the performer can do.  Of course, we must also remember the tech folk that join her in the curtain call:  5 Camera Operators1 Dresser1 Wig Supervisor2 Prop Managers3 Carpentersand 2 LX/Sound Engineers).  Please see this show.  It will blow you away!