Sarah Snook, camera operators and other crew members bring to life multitudes on Broadway via an elaborate synthesis of live ...

The new Broadway production of The Picture Of Dorian Gray has a high bar for entry. A one-actor adaptation of a piece of Victorian literature featuring camera operators and video screens on the ...

Oscar Wilde’s infamous antihero Dorian Gray probably would’ve loved to have a barrage ... for commentary and is hampered rather than strengthened by its single-actor format, what’s left? The very ...

"Succession" star Sarah Snook plays all the roles in Broadway's "The Picture of Dorian Gray," a send-up of the Oscar Wilde classic.

The final twist is that, in 1776, Shay murders the Assassin Charles Dorian, father of Unity's protagonist Arno, in France. Assassin's Creed III follows both Haytham Kenway and his son Ratonhnhaké ...

Dorian at one point starts using an iPhone ... for commentary and is hampered rather than strengthened by its single-actor format, what’s left? The very premise of the production is a gimmick ...

What could be more vain than a 15-foot-tall image of an actor’s face onstage glaring ... Sarah Snook plays 26 roles in “The Picture of Dorian Gray,” which opened Thursday night at the ...

NEW YORK ‒ One woman, two hours and 26 wildly eccentric characters. If your head is already spinning, then buckle up. In director Kip Williams’ audacious, gender-bent adaptation of Oscar Wilde ...

These are among the many wonders you’ll find onstage at the Music Box Theater, where a technologically spectacular adaptation of “The Picture of Dorian Gray,” with Snook playing 26 roles ...

From the bubble-curled Tadzio-lite we first meet, the final Dorian resembles a platinum-bouffant, bloaty Elvis. Just as in the cross-gender roles of Operation Mincemeat, a female actor inhabiting ...

Heights of iconic protagonists like Arno, Altair, and Ezio range from 5'9" to 6'2". The Assassin’s Creed franchise features a diverse lineup of protagonists, with each game set in a different ...

Artists are reclaiming monument-making as a collective, rather than a ‘monohumanist’, project.