The dominant visual theme for this compelling production is red .Blood red. This is a new production by Gale Edwards for Opera Australia of the controversial 1906 Richard Strauss opera SALOME, based on Oscar Wilde’s play of the Biblical story .
The set design by Brian Thomson is stunning , a circular amphitheatre with a screen for the opening banquet at the back . The ‘blood’ theme is continued by the use of Francis Bacon like images of animal carcasses. The banquet shown at the back of the stage is in some ways presented as a twisted version of The Last Supper.
In this version the priests are assorted Catholics or Orthodox – but why a Hindu monk? The Jews wear distinctive round fur hats .It has a futuristic, not ancient Biblical feel .The production was ‘timeless ‘ with no clear indication of when it was set .John Rayment’s lighting was superb .
Cheryl Barker as Salome was stunning – kittenish, thrilling and chilling , in fantastic voice as the beautiful, defiant , malevolent princess. She becomes obsessed with Jokanaan .
The bizarre, gruesome scene just before the end where she rolls almost orgasmically and kisses the decapitated head of Jokanaan is both shocking and gripping. In the first half she is in a white dress and wears her hair up in a three pointed headdress and she was stunning in a black dress with her hair down for the second half.
As Jokanaan , John Wegner is sensational with a dominating , thrilling voice. He is portrayed as a passionate zealot rather than a pale, somewhat other worldy prophet. His painful entrance clambering out of the cistern in chains is spectacular.
Malevolent Herod was terrifically played and sung by John Pickering in a gold suit and crown. At times he was rather weak, petulant and childlike, but at the same time he was dominating and chillingly despotic. He was obviously trapped in an unhappy marriage to Herodias( Jacqueline Dark) .
Jacqueline Dark portrayed Herodias as a pernicious, scheming and self centred woman, full of venomous spite .
Narraboth, Captain of the Guards, in love with Salome, was brilliantly performed by David Corcoran . And the page (rather, in this production, a maid) in love with him was excellently performed by Sian Pendry .
A problem with the production was the set piece of Salome’s dance for Herod. It was cheap and tawdry – which I guess it was meant to be- further exploring the Madonna/Whore complex theme of the work and examining the relationship between Salome and Herod ( with more than hints of child abuse). But ( with obvious body doubles ) cheeky maids, a pole dancing dominatrix with staccato heels, and a Marilyn Monroe ‘tribute’ representing male fantasies, just didn’t seem to work.
The sharp, spiky at times dissonant and chromatically distorted Strauss score was thrillingly played by the Australian Opera and Ballet Orchestra, with great attention to detail, under the scintillating direction of Johannes Fritzsch .
Dark, twisted and subversive this was quite a sinister and disturbing production that is bound to lead to some very interesting post show discussions.
Opera Australia’s production of SALOME, directed by Gale Edwards, opened at the Opera Theatre, Sydney Opera House on Friday 12th October and is playing various dates until Saturday November 3, 2012. Running time is 1 hour and 40 minutes without interval.
© Lynne Lancaster
17th October, 2012
Tags: Sydney Theatre Reviews- SALOME, Opera Australia, Gale Edwards, Opera Theatre, Sydney Opera House, Sydney Arts Guide, Lynne Lancaster