Salome (Tour – Oxford)

It is plain even before the action begins that Headlong and Curve Theatres’ production of Salome is not intended to be comfortable viewing: the mood is set by a cacophony of background noise, and the sparse set, harsh lighting, and militaristic costumes make it abundantly clear that this is no drawing room comedy. Oscar Wilde’s take on the events leading up to the death of John the Baptist is one of his less frequently seen works, and although it is some decades since the Lord Chamberlain’s prohibition on plays with biblical subjects ceased to be an issue, with themes including incest and the murder of a prophet, this is still a piece with the power to shock.

There are some strong performances: Zawe Ashton strikes a delicate balance between knowingness and naivety as the eponymous princess, Con O’Neill gives a witty interpretation of her stepfather Herod, and there are some nice cameos from the supporting characters. The language of the play – rich as it is in flamboyant imagery and stylized archaicisms – is challenging for any performer, but the skill of the cast is such that it rarely sounds stilted or unnatural, although it does occasionally jar with the gritty, modernized setting.

While a high level of tension and excitement is maintained through most of the play – which is a taut, ninety-minute single act drama – there were one or two points where it flagged a little. In particular, I found the key scene where Iokanaan finally appears a touch underpowered – it was not easy to see precisely what provoked the intense reactions (lust, awe, hatred) he apparently drew from the other central players. And – perhaps somewhat paradoxically – I did wonder if the sexually charged atmosphere that the text demands might have been more effectively generated if some of the more physical aspects of the action had been slightly more understated (it was, for example, a little hard to believe that the captain of the guard would find the promise of a dropped flower and a smile from Salome enough to induce him to disobey orders when she already seemed quite prepared to walk about half clothed and drape herself over any man who happened to be to hand).

Overall, however, this is a polished and technically accomplished production, and it is well worth seizing the opportunity to see this little-performed piece.

– Meriel Patrick