Episode Summary: "Sarah Snook Plays 26 Roles in 'The Picture of Dorian Gray'"

Release Date: April 29, 2025 | Host: Alison Stewart | Guest: Sarah Snook

Introduction

In this episode of All Of It, host Alison Stewart engages in an in-depth conversation with acclaimed actress Sarah Snook about her remarkable performance in the Broadway adaptation of Oscar Wilde's The Picture of Dorian Gray. Snook’s portrayal involves embodying 26 distinct characters within a near two-hour, 60,000-word play, showcasing her versatility and dedication to the craft.

Sarah Snook's Background and New Role

Sarah Snook, known for her nuanced performances in productions like Succession, discusses her transition from the series to her role in The Picture of Dorian Gray. Reflecting on her recent pregnancy and the birth of her daughter, Snook shares:

“I was pregnant. I just had a baby in April. Actually, my daughter's birthday is today and I wanted to lie down, but not so fast. Had to get 60,000 words to do this one woman show.”
[02:43]

Despite expecting a break post-Succession, Snook found herself embarking on the challenging yet exhilarating project of playing 26 roles, a dream realization for her.

Collaboration with Director Kip Williams

Alison Stewart delves into Snook’s collaboration with director Kip Williams, highlighting their longstanding professional relationship:

“We properly kind of, I guess properly crossed paths then, but we knew of each other at drama school and, and he did the directing stream and I did the acting stream and we'd always since then wanted to work together.”
[03:45]

Williams, who first heard of Snook while she was still in school, saw her potential early on, leading to their partnership in bringing Wilde's classic to life.

Technical Aspects of the Production

The production boasts an intricate blend of live theater and technological innovation, including five camera operators, large and small screens, diorama-shaped sets, and pre-recorded segments. Snook explains the structured nature of the rehearsals and the live editing process:

“The rehearsal space [...] was like, great, tell me where to stand and what's line to say when I get here. It was very structured in that way.”
[07:02]

She likens the performance structure to jazz, allowing for creativity within defined parameters:

“There is a formality to it. There is certain specificity to where I have to be in the space in which I have to say this line. But within that space, as long as I get the timing right, I can jazz it up.”
[08:00]

Character Development and Performances

Snook discusses the depth of character development required to portray 26 roles, emphasizing the importance of vocal differentiation over physical appearance due to limited rehearsal time:

“I did lots of like vocal work of where to put, where to put the sound of the character [...] We need to find something that is essential to that person that we know that that's Lord Henry or that's Basil.”
[11:38]

Her ability to shift seamlessly from one character to another was pivotal in maintaining the narrative flow and engaging the audience.

Challenges and Adaptations

The production's complexity presents unique challenges, especially concerning the integration of live and pre-recorded elements. Snook recounts the intense schedule required for pre-recording:

“We did the prerecorded in a week and a half, which is just a monumental effort of crew and makeup artists.”
[09:36]

She also highlights the absence of understudies, underscoring the personal commitment needed to sustain such a demanding role:

“No understudies. Sixteen weeks old, me.”
[21:08]

Reception and Audience Interaction

Moving the production from London's West End to Broadway has brought a new level of audience engagement. Snook praises the Broadway crowd's generosity and responsiveness:

“Broadway audiences are great. They're really engaged. They're willing to laugh, ready to laugh. They're so generous with their applause and welcoming.”
[17:45]

She also addresses the interactive nature of the show, especially in handling any technical mishaps with humor and grace, maintaining the immersive experience for the audience.

Maintaining Health and Motivation

Balancing a demanding role with motherhood, Snook shares her strategies for maintaining health and vocal integrity:

“I'm just living pretty monkishly aesthetically. Not drinking if I can help it... trying to get to bed early and get some good sleep.”
[21:20]

When facing days when motivation wanes, she draws inspiration from knowing that dedicated audience members have been eagerly anticipating her performance:

“There is one person in the audience who has either flown from Brazil or flown from Argentina... to do it for.”
[22:04]

Conclusion

Sarah Snook’s portrayal in The Picture of Dorian Gray is a testament to her exceptional talent and commitment. Through meticulous character work, collaboration with director Kip Williams, and innovative use of technology, Snook delivers a performance that captivates audiences both in London and on Broadway. Her insights offer a fascinating glimpse into the complexities of modern theater production and the dedication required to bring literary classics to life on stage.

Notable Quotes

• Sarah Snook on Taking the Role Post-Pregnancy:
  "Had to get 60,000 words to do this one woman show."
  [02:43]

• On Structured Creativity:
  “As long as I get the timing right, I can jazz it up.”
  [08:00]

• On Audience Motivation:
  “There is one person in the audience who has either flown from Brazil or flown from Argentina... to do it for.”
  [22:04]

This episode provides a comprehensive look into Sarah Snook’s multifaceted role in The Picture of Dorian Gray, exploring the interplay between actor, character, and audience in a groundbreaking theatrical production.