Posts Tagged ‘salome’

Review – Oscar Wilde’s “Salome” – Richmond Theatre (then Hampstead)

June 4, 2010

Headlong and Curve Theater have created a retelling of Oscar Wilde’s Salome that seems oh-so-very au courant and came to the Richmond Theatre for a four-day visit at the end of May, 2010, with the promise of more touring and an extended stay at the Hampstead Theatre (June 22-July 17th). Thanks to membership in the Twespians theater club, I had an offer not just for free tickets (unsure if they needed to paper the house or promote the show) but also for free wine before the show. Well, Richmond is quite out of my normal stomping grounds, but I’ve wanted to see this piece of Oscar Wilde’s performed for ages, as I am a fan of Aubrey Beardsley’s illustrations and I enjoyed the rather painfully over the top Alla Nazimova silent film version last year. And there was the free wine. How better to get into the spirit of this incarnation of fin-de-siecle decadence than liquored to the gills, unless perhaps I was to watch it dressed in velvet and draped in pearls?

Thank God I’d left my velvet and pearls behind, for this show was as far from any exhilarating tribute to excess as it were possible to imagine – while wholly needing the lubrication of several stiff drinks. We are given the court of Herod, in which the inhabitants supposedly have every luxury – but it is presented as a sort of Iraqi oil dump, with camo-fatigued soldiers looking rough and patrolling around with an excess of energy. The set, a black square covered in ground up tire rubber, with a few pools of black liquid on the edges and towering metal structures behind, certainly created a very modern atmosphere, but I found it completely contrary to anything implied in the text and, to be honest, all rather a bit too in love with itself. Yes, the play can be seen as some sort of rant against the powers of privilege, a screed against corruption, but in this setting, in which all poetry has been stripped away, Wilde’s words had a difficult battle to fight.

For characters and plot, we have a soldier (Sam Donovan) who has an unhealthy attraction to teen beauty Salome (Zawe Ashton), the step-daughter of Herod (Con O’Neill). Herod, meanwhile, has developed his own unhealthy attraction to Salome, which is making her mother, Herodias (Jaye Griffiths) understandably uncomfortable. Salome, utterly stuck on herself, develops her own crush: on John the Baptist (Iokanaan, played by Seun Shote), who is Herod’s prisoner. The source of her attraction is somewhat obvious: he’s the only man who is not obsessed with Salome; in fact, he repudiates her rudely (and yet poetically). And with his ramblings about whores and punishment and saviors, well, he’s just a little bit on the nutso and possibly dangerous side: perfect for a girl who’s been living perfectly sheltered in a hotbed of intrigue. Love the man her powerful “daddy” is afraid of? Perfect!

Wilde’s job is to make this story, to which we all know the ending, intriguing. Iokanaan must seem powerful and intelligent, yet manage to exert attraction even though he’s been living in a cell below the ground; Herod must seem both despotic and weak, lustful and yet frightened, so that he can hold out against Salome’s demands. In some ways, it’s like a Greek play in which we all know the plot and the playwright’s job is to ratchet up the tension without making it descend into farce. The focus on Salome and her power over others is probably the most difficult dramatic hurdle; Wilde attacks this by building up Salome’s attractiveness with lush descriptions (most of which come from the soldiers and are a delight to the ears) but also by showing every character being impacted by her. I bought into this in a way I never had with a film or the opera; Wilde’s words and setting made me see the captivation she creates be due to her being a free spirit – but also because she is a pearl in a cesspit of corruption, pure if only for seeking nothing but her own pleasure. With Iokanaan close to a force of nature, and Herod a man both oozing with power and yet afraid of his own shadow, the stage is well set for the inevitable.

In her horrid gold jumpsuit, Zawe Ashton seems unlikely to convince as this creature “with feet like doves,” but I believed in her performance as an utterly self-centered teen with no concept of consequences, only caring for instant gratification, the sun around which lesser celestial bodies fade into insignificance. She even handled the “dance of Salome” well – she seemed very much the modern, celebrity-obsessed girl, but with a bizarre belief in the value of exposing bits of her body to people in order to get them to do what she wanted. I actually found it hard to buy that anyone could go against the order of a direct boss in exchange for a view of nubile torso – but in the cooked up atmosphere of soldiers on duty in the desert, it kind of made sense.

Overall, though, I found this production depressing and as unsexy as can be. I wasn’t revolted by Salome making out with a bleeding, decapitated head; I was revolted by the ugliness of the show. Wilde has Herod talking of beautiful white peacocks with gilded beaks, of a pearl necklace that is like moons chained in threads of silver, and all of these beautiful words, every word of praise for Salome herself, has the life sucked out of it by the bleak set and the drab costumes. We hear them speak of luxury but see nothing but privation. Is our world not already coated in filth, that we should need to see Herodias stepping in a puddle of scum on stage?

In a week in which I saw three shows, this was perhaps the best; but only because it provided a singular chance to hear the worlds of Oscar Wilde spoken on stage (and the others were the abyssmal Ingredient X and bad-unto-farce Paradise Lost). A live production of Salome this was but it’s hard to say that this show brought Wilde’s words to life as this production did everything it could to ground their power and beauty into the ground like a cigarette butt. I suspect Jamie Lloyd is pleased with how he “updated” it and made it relevant to modern audiences, but to me the production reeked of trendiness and a lack of faith in the script. Given that this show is running through a lovely summer, I can only advise you to take a lovely picnic and a few friends and read it to each other outside, in a field of flowers, where you can laugh and laze and enjoy yourself. Be sure to bring some cold white wine, and when you think about how fleeting life’s pleasures are, raise a glass to Salome and to poor Oscar, then be grateful you’re not inside watching this horrible show.

(This review is for a performance that took place at Richmond Theater on Tuesday, May 25th, 2010. Salome will continue to tour through the end of June, hitting the Oxford Playhouse, the Northern Stage, and Theater Royal Brighton before settling down for a run at the Hampstead. Don’t say you weren’t warned. For other opinions, please see There Ought to be Clowns and of course the compendium at UpTheWestEnd.com, which should grow as the majors review this play.)

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Flamenco Festival starts at Sadler’s Wells (and comments on the Birds Eye silent Vamps series)

March 13, 2009

Now that my week of Vamps in Silent Film has wrapped up (Salome, The Vampire, A Fool There Was, Alraune), I’m moving on to Flamenco at Sadler’s Wells. I’ve got three shows in the next 8 days – Estrella Morente (Saturday), the Mujeres gala (Monday March 16), and the Flamenco Carmen on Friday the 20th. I’m pretty excited about it – just got my email about Mujeres, and it will be 90 minutes of non-stop, toe (and heel) tapping madness! Anyway, the reviews will start filtering in soon – expect to hear about Senora Morente on Sunday.

Some comments on the silent movies I watched: I think I’ve pretty well decided I don’t care for pre-20s era silents. Alraune had good cinematography and a reasonable plot (as a sort of SF/horror movie, I saw it as being a sort of Victorian version of Blade Runner), but A Fool There Was (1915) and The Vampire (1913) were just a big mess, lacking coherence and difficult to watch.

However, I have a bigger complaint to make about the music that was presented alongside these movies. Jane Gardner’s piano score for The Vampire was okay, but Alison Blunt’s hodgepodge of random noise that accompanied Alraune made me wish it was truly a silent movie. Do these people not go to the trouble to examine the music that might have originally been made for the film, or consider how to do sound effects to enhance the experience? Blunt even missed out on a brilliant opportunity to illustrate the music the band was playing in a flapper dance scene.

I realize that my years of watching Dennis James at Seattle’s Paramount Theatre may have spoiled me a bit, but the man knows the genre inside and out. I’ve also seen The Asylum Street Spankers and Aono Jikken perform new, original silent soundtracks in a way that enhance the viewing experience. What does it take to get people to understand you can’t just noodle your way through a movie and not come off looking like a self-indulgent ass? I’ll say this much about Bishi’s performance in accompaniment to Salome: it wasn’t just original, it made watching the movie better. (Sure, the effect was to turn it into a giant music video for me, but this worked because the flick itself was so OTT.) That said, there’s no excuse for not having good music with silents. Can someone come over here and teach people how to do it right? I salute the Birds Eye film festival for investing the money in having new music created for these films, but I wish it had been done in a way that created something that could follow the movie around forever, rather than being so disposable.