Abstract Neil Bartlett's 2012 theatrical adaptation of The Picture of Dorian Gray presents a provocative reimagining of Wilde's novel, emphasizing its homoerotic and aesthetic dimensions while engaging with the historical and cultural anxieties surrounding queerness. Bartlett's interpretation foregrounds the challenges of representation, particularly through his deliberate omission of the portrait, his use of symbolic objects like the gold cigarette case, and his heightened emphasis on Lord Henry's and Basil Hallward's homoerotic affections for Dorian. By intensifying the queer subtext and integrating theatrical techniques that implicate the audience in Dorian's moral corruption, Bartlett's adaptation functions as both a tribute to and an expansion of Wildean aestheticism. His portrayal of same‐sex desire aligns with both Victorian and contemporary discourses on queerness, further complicating the relationship between aestheticism, morality, and identity. This study examines how Bartlett navigates the intersection of adaptation, homoeroticism, and theatrical spectacle, ultimately demonstrating how his version of Dorian Gray reconfigures Wilde's narrative for a modern audience while retaining its historical complexity.
Younes Poorghorban (2026) studied this question.