Matthew Bourne's Dorian Gray

If only Oscar Wilde was still around to see Matthew Bourne's very modern take on his gothic chiller. He would surely approve.

Bourne, the choreographer behind Nutcracker! and Edward Scissorhands, has created a very sexy, playful and ultimately gruesome piece of dance theatre set in the superficial modern world of advertising and celebrity.

Here, the title character is a buff waiter-turned-model who is signed as the face of a new men's fragrance. There's no portrait in the attic - Dorian lives in a trendy loft apartment and his face is plastered on billboards. He attracts paparazzi snappers plus admirers male and female.

Bourne isn't afraid to let his influences shine through: there are nods to iconic sixties film Blowup, pop artist Damien Hirst and a certain British TV chat show, the last of which features the only moment of camp in a show that treats sexuality as fluid and gender as incidental.

Nor is Bourne afraid to leap from delicious comic moments to scenes of unexpected and cinematic horror, or to throw in an orgy scene that climaxes in worship.

His Dorian is part David Beckham, part Patrick Bateman, but has more in common with the former: without words, the magnetic Richard Winsor is reduced to a handsome face and sculpted body, in love with himself and effortlessly attracting others. He's on stage almost constantly, yet it's almost impossible to take your eyes off him.

Lez Brotherston's fabulous rotating set works brilliantly, with Bourne's smooth, sensual choreography contrasting sharply with what must be frantic behind-the-scenes work.

At half time the theatre was buzzing with debate over who was who and what was what, but it's best to just go with the flow and allow yourself to be seduced by this thrillingly up-to-date new look at a timeless cautionary tale.