“Matthew Bourne Does Modern”. The popular (populist?) master of nostalgic period dance narrative has brought Oscar Wilde’s evocative drama The Picture of Dorian Gray bang up to date: Dorian, the “face” of the fragrance Immortal, and his degradation and fall are set among 21st century fashionistas. As one would expect from Bourne, it is packed with clever references and genuine wit – the choreography for the initial shoot is a series of fashion poses, but at times he labours the point without subtlety – Dorian awakes to The Sleeping Beauty.

Bourne has created a mammoth title role for his muse, the striking and expressive Richard Winsor (pictured, left), who charts the character’s downfall with aplomb, but is outclassed by the eye-catching Aaron Sillis (right) as the photographer Basil, who “creates” Dorian and (pace Mr Wilde) becomes his lover. Their first duet is the work’s choreographic and dramatic highpoint – deeply masculine and intensely sexual; it charts the seduction and possession of our innocent. There is no other sequence of similar quality and all too often Bourne’s obsession with the narrative slows the pace to a plod and dissipates all danger or daring; the sequences for the “corps” in various settings (vernissage, coke party, orgy) allow Winsor to catch his breath and towel himself down, but they feel like padding and I suspect 20 minutes shorn and the work run without a break would tighten things up nicely.