Get a roundup of the most important and intriguing stories from around the Brooklyn, delivered to your inbox each day.
A cloud cuts across the face of the moon. A woman dances to kill. A clown king’s rule begins to crumble.
Rarely performed and relentlessly misunderstood, SALOME is Oscar Wilde at his most vulnerable, impenetrable, honest, mystifying. Written in raw, simple French, then dismally translated by Wilde’s lover Bosie, for years the play was largely dismissed as a Victorian oddity, an excuse to show some skin. But in this new translation by director James Rutherford, SALOME reveals itself as a tragic parable of queer longing. Pouring his own doomed desires into the imprisoned prophet Iokanaan, the mercurial princess Salome, and even the vulgar paranoid Herod Antipas, Wilde explodes a Biblical footnote into a surreal moonscape of alienated passion. Eerily prescient, utterly mysterious, SALOME is a prophecy of social destruction, a parable of what nightmares erupt when we demonize desire, criminalize otherness, and look but never see.
SALOME runs 90 minutes without an intermission and contains strobe lights and nudity.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *
SALOME by Oscar Wilde
Produced by M-34 in partership with the Irondale Center and FringeNYC
Directed and translated by James Rutherford with choreography by Jess Goldschmidt, projection by Wladimiro Woyno, costumes by Lara de Bruijn, scenery by Oona Curley, lights by Kate McGee, sound by Michael Costagliola, stage management by Isaac VanCuren, technical direction by Rudi Utter, and press representation by David Gibbs/DARR Publicity.
Featuring performances by Patrick Cann, Ross Cowan, Jon Froehlich, Charise Greene, Marty Keiser, Lizzie King-Hall, Louie Pearlman, Alexander Reed, Laura Butler Rivera, Anthony Simone, Lisa Tharps, Rudi Utter, Feathers Wise, and Jing Xu.
October 6 – October 27, 2018