BroadwayRadio Podcast Summary
Episode: Class Notes: Marg Horwell “The Picture of Dorian Gray”
Release Date: March 27, 2025
Host: Lauren Clash Schneider
Guest: Mark Porwell, Award-Winning Set and Costume Designer

Introduction

In this engaging episode of BroadwayRadio, host Lauren Clash Schneider delves deep into the intricate world of live theater production with Mark Porwell, the acclaimed set and costume designer behind the captivating production of "The Picture of Dorian Gray" at the Music Box Theater. Released on March 27, 2025, this episode offers listeners an insider's perspective on the creative and technical challenges of staging a one-person show enriched with live performances and multimedia elements.

Production Overview

Mark Porwell opens the discussion by highlighting the unique nature of "The Picture of Dorian Gray", which seamlessly blends live theater with simulcasts, incorporating onstage costume and wig changes alongside pre-recorded video segments featuring Sarah Snook. The production explores themes of hedonism, excess, and beauty, presenting a contemporary commentary on life as a performance.

Mark Porwell [00:16]: "It's a funny project, this one, because we always talk about it as a one person show, but actually a production that includes many, many people to create the production live."

Live Performance Meets Pre-Recorded Elements

One of the standout features of this production is the interplay between live performance and pre-recorded footage. Sarah Snook embodies 26 characters, with 18 or 19 of these transformations occurring live on stage. Mark elaborates on the technical marvels that make these transitions possible, emphasizing the real-time transformations that captivate audiences night after night.

Mark Porwell [00:50]: "We have created 18 or 19 of those characters to be fully costumed, wigged, mustached characters where she completely transforms from character to character."

This dynamic approach not only showcases Sarah's versatility as a performer but also highlights the meticulous choreography behind costume and set changes, which Mark likens to a "dance backstage."

Casting and Collaboration with Sarah Snook

Mark discusses the casting process, revealing that Sarah Snook was brought on board after the initial creation of the show. The production originally debuted in Australia with a different performer, alongside Kip Williams, the writer and director. The transition to featuring Sarah in the West End allowed for a more tailored design process, leveraging her physicality and character acting prowess to refine and adapt the roles.

Mark Porwell [02:49]: "Sarah's a very playful performer and an incredible character actor. We have made changes to characters based on her physicality and what suits her."

This collaboration ensured that the design elements were specifically crafted to complement Sarah's unique strengths, resulting in a production that feels both personal and cohesive.

Collaboration with Kip Williams

The synergy between Mark Porwell and Kip Williams is a cornerstone of the production's success. Having worked together previously, their collaborative dynamic allows for a seamless integration of script, set, and costume design. Mark explains how their partnership extends beyond traditional roles, often combining set and costume design to maintain a unified aesthetic across the live and recorded segments.

Mark Porwell [04:39]: "There is a very collaborative approach to how to make this production and how to develop something that we can achieve in the final product."

Their mutual understanding and shared vision facilitate an organic development process, ensuring that every design decision supports the overall narrative and thematic goals of the production.

Integration with Video Design

The episode also touches upon the collaboration with David Bergman, the video designer credited for the production. Mark describes the innovative approach to blending theatrical elements with cinematic techniques, creating a hybrid that respects the immediacy of live theater while utilizing the depth of filmic storytelling.

Mark Porwell [06:23]: "We've approached it from a very theatrical standpoint. But a lot of our takes are one take. It feels like every part of the design can be seen."

This fusion necessitates meticulous planning and coordination, as the team works within the constraints of both theater and film, ensuring that each scene transitions smoothly between live action and pre-recorded footage without the luxury of extensive post-production editing.

Designing Sets and Costumes: Balancing Creativity and Practicality

Mark delves into the intricacies of balancing set and costume design, especially in a production where the visual elements are constantly shifting to support multiple characters. He discusses the "self-negotiation" process, where he balances risks and changes in set designs with corresponding adjustments in costumes to maintain visual coherence.

Mark Porwell [08:58]: "I like to know that if I can take a risk or change something on one side, that I can balance it on the other."

He emphasizes the importance of creating an adaptable and versatile design that can accommodate the fluid nature of the performance, likening the scene changes to "Opera Rules," where transitions are seamless and purposeful.

Teamwork and Collective Effort

A significant portion of the conversation highlights the collaborative spirit required to bring such a complex production to life. Mark praises his extensive team, which includes a head of wigs, makeup artists, costume designers, carpenters, and props specialists, all contributing their expertise to achieve the nostalgic and handcrafted aesthetic of the show.

Mark Porwell [10:28]: "It's been great to have such a huge team across many departments and be able to bring them all together."

He also touches upon the challenges and rewards of managing such a large crew, especially in a one-person show framework, underscoring the importance of teamwork in overcoming the logistical hurdles of live and recorded hybrid performances.

Conclusion

In closing, Mark Porwell shares his appreciation for the collaborative environment and the dedicated team that makes "The Picture of Dorian Gray" a standout production. His insights offer a profound understanding of the delicate balance between creativity and technical execution required to stage a multifaceted one-person show that captivates and engages audiences.

Mark Porwell [11:08]: "Just get as many friends as you possibly can so that you’re not just you being lonely."

Lauren Clash Schneider wraps up the episode by thanking Mark for his time and the invaluable secrets he shared, leaving listeners with a deeper appreciation for the complexities and triumphs of theatrical production.

Key Takeaways:

• Complex Production Design: Combining live performance with pre-recorded video creates a rich, multi-layered narrative experience.

• Collaborative Efforts: Successful integration of set, costume, and video design hinges on strong partnerships and effective teamwork.

• Adaptability: Designing for a one-person show with multiple characters requires flexibility and innovative problem-solving.

• Technical Mastery: Seamlessly blending live and recorded elements demands meticulous planning and technical expertise.

Notable Quotes:

• Mark Porwell [00:50]: "We have created 18 or 19 of those characters to be fully costumed, wigged, mustached characters where she completely transforms from character to character."

• Mark Porwell [04:39]: "There is a very collaborative approach to how to make this production and how to develop something that we can achieve in the final product."

• Mark Porwell [08:58]: "I like to know that if I can take a risk or change something on one side, that I can balance it on the other."

This episode is a must-listen for theater enthusiasts and professionals alike, offering a behind-the-scenes glimpse into the artistry and collaboration that define modern Broadway productions.