I’m really not sure where to start writing this week’s blog. My partner came out of the theatre saying he didn’t understand the point of Salome being played by a man. My question was more fundamental; I didn’t get the point of the play!
I don’t think this is particularly a problem with the play. I think it’s mostly about me and the fact that I’m emotionally knackered with other stuff going on in my life just now. I just don’t think I had the capacity to engage with what was happening on the stage.
I think this was a useful reminder to me that whatever we watch, read or listen to there needs to be a level of emotional engagement with it for us to either “get it” or reject it. Salome simply washed over me.
Thinking back over the production I recognise that the acting was good. Matthew Pidgeon was good as Herod; drunk as a skunk and fascinated by his step-daughter in the early parts of the play and rapidly sobered by the horrific demands of the step-daughter for Iokanaan’s head.
Matthew Tennyson was interesting as Salome; an air of innocence on the cusp of adulthood ripening to thwarted, manipulative lust during the dance.
The words of the play are beautifully poetic and evocative. At some point, when I can uncover the Complete Oscar Wilde book and a Bible from my piles of books, I’d like to go back to the sources and reflect on how Wilde draws from the Bible and how Owen Horsley draws on both for his production.
In the meantime, note to self; spend some time catching up with myself so next time I’m at the theatre I’m in the right frame of mind!