As Wilde said, ‘On an occasion of this kind it becomes more than a moral duty to speak one’s mind. It becomes a pleasure.’ Because Dorian: The Musical defies lukewarm expectations. It is a delight – superbly acted and sung, brilliantly designed and rewardingly fresh.

Any musical rises or falls on the strength of its songs, and Dorian: The Musical features 20 excellent songs by Evans, largely in the rock idiom but with a couple of cabaret-style numbers. Lyrically, they strike a splendid balance between poetry and narrative, bringing in snatches of Wilde and his world in songs like ‘The Hardest Flame’ without overdoing it. The opening number, ‘I’m Going to Live Forever’, is one of several standouts, as is ‘Son of Love and Death’, which gets a warranted reprise. The cast sing them so well they might have cast for that alone, but their acting is equally strong.

Isabella Van Braeckel designed both the sets and costumes, which are a special triumph. She mixes elements of Victorian garb, especially frock coats, with modern styles for a glam-rock flamboyance that adds to the musical’s discourse around beauty. She also brings a gender-fluid look to a production that amps up the female voices and includes at least one non-binary performer. Most of all, the costumes are fun, from the Bowie lightning bolts on Victoria’s costume to the pimpish dandyism of Baz Hallward’s outfits.

Friedman is a stunner – it’s easy to see why his Dorian is worshipped, unlike some of the humdrum Dorians we’ve seen on stage. With his rock star looks, he calls to mind The Doors’ Jim Morrison, a member of the so-called ’27 club’ of talented people who died at that age, which the musical references with its Club 27.

All concerned with this production deserve credit for bringing a very enjoyable new version of Dorian Gray to life. A cast soundtrack would be welcome.