It is a strong idea, although not an original one, to bring music to Oscar Wilde’s 1892 play. Itamar Peres’s powerful singing about Salomé beauty makes the start of this production from Gesher Theatre intriguing. The ethereal voice of Shir Sayag, who plays Jokanaan (John the Baptist), punctuates the show to further effect. Unfortunately, the rest of director Maxim Didenko’s production is misguided and, too frequently, poorly executed.
Wilde’s text is difficult – it was originally written in French, very much of its symbolist moment and, frankly, a bit mad. But we can all agree it is poetry. And ignoring this, as Didenko seems to, is disastrous. The cast members race through the text. To their credit, they are not breathless… but I was. It doesn’t help that several of this international group have strong accents, or that the sound design isn’t the best quality. What you can catch is often unpleasant on the ear.
The only time the action slows is when Jokanaan sings. But the prophet is mostly above the action, in a small space, and removing him like this becomes a problem – it feels as if he is in a different play. This isn’t the worst move from set designer Galya Solodovnikova. While there’s no reason the terrace of Herod’s palace can’t be given a bar and a piano, the space shouldn’t feel so cramped. The idea of a fountain – and not curbing the desire for the cast to get into it – proves messy. Subsequent mopping up proves farcical when it includes ignoring a dead body and blood (that Herod slips in). Of course, it would be awful if any of the cast were injured. But health and safety isn’t sexy and this whole production is so devoid of eroticism – and Wilde’s warnings about its dangers – that there really doesn’t seem much point to it.
It isn’t silly to inject insanity into Salomé – what’s going on is crazy. And, as we all know the story, tension needs to come from somewhere. But the cast is too prone to equate instability with over-acting (and odd attempts at humour). The result becomes tiresome and, strangely, bland. A notable exception is Neta Roth, who tries hard in the title role. She delivers her lines better, while interpreting Salomé as a spoilt child works well enough. But there’s too much against Roth, not least making her wear one of the ugliest dresses I’ve ever seen. Her dance starts with some kind of dragon or fish mask – I’m sorry I don’t understand this – and ends up with her topless. Such a gratuitous gesture is indicative of how much has gone wrong here.
Until 11 October 2025
Photos by Sasha Gusov