|Photo by Prudence Upton|
SALOME, an old Old Testament, bible story.
SALOME, a sensational poem/play, in French, originally, by Oscar Wilde from 1891 - banned, originally, across most of Europe.
SALOME, an outrageously daring composition and adaptation by Richard Strauss written in 1905. Banned, but appreciated and highly lauded, gradually, through the operatic world.
SALOME, a contemporary production by the brilliant Gale Edwards, for the what I imagine should be an eternally grateful Opera Australia, that is as outrageous in its intellectual and physical conception and execution, placing this female-'revenge' work undeniably in our contemporary era of the 'revolutionary' contemplation of the 'gender bubble' of the history of the male gaze on the other half of the species than any I have ever seen before. It is accumulatively a highly disturbing and thrilling experience. It is even more remarkable to meet such sexual relevance and power in an Opera House, where the heroine usually either goes mad, marries (usually unhappily) enters a convent or dies a tragic death.
This production, is not new, it has been in repertoire for a few years, but it had the foresight to herald the eruptions of the sexual power-politics of 2019, and it is simply shocking and exciting to see, today, Ms Edwards' prescience of mind with her fellow collaborators, Brian Thomson (Set Design), and Julie Lynch (Costume Design) and Choreographer, Kelley Abbey, in the creative act they have conceived and delivered is remarkable.
This 'showing' of this work has been 'staged-revived' by Andy Morton - which seems odd to me since Ms Edwards is living in Sydney and was/is available to keep it refreshed and true. It is interesting to note that there are regular revivals of Ms Edwards' highly-reviewed Opera Australia productions such as the ever revived LA BOHEME – where the present management, led by Lyndon Terracinni, have never ever permitted the original artists, despite their availability – to take responsibility in reviving their work for us. What are the 'politics' guiding this decision to deliberately avoid using one of the great Australian Musical artists and her 'team' from giving us the benefit of their genius? This is a question no one at OA seems prepared to engage with.
I felt the heat in the revenge of SALOME on the male gaze in the demanding of the head of John the Baptist, in the daring acting, choreography and singing of the role on this night, by Lise Lindstrom. The head of John the Baptist has probably never had such a 'reward' before! Not only the singing but the acting and daring choreography that possesses Ms Lindstrom is moving beyond belief- across a wide emotional range of response.
The masterstroke in this production of the famous Dance of the Seven Veils is where each veil reveals contemporary provocative images of women's objectification through Western history: from that of a little girl with her 'teddy' on the lap of her 'Daddy', to the brilliant choice of reviving the iconic image of Marilyn Monroe standing above the grate of the New York subway system with her dress billowing up over her head. The images are mind-blowingly arresting.
Jochanaan (John, the Baptist) is wonderfully sung with an alabaster torso gleaming seductively through the costuming and staging in the 'ownership' from Alexander Krasnov. While Andreas Conrad creates a hectoring and saturated evil as Herod. It is no fault of his that the seedy and decadent presence of Claude Rains permeates my memory from his performance in the 1965 George Stevens epic of the life of Christ in THE GREATEST STORY EVER TOLD - a Herod of evil, oozing its way off the screen into my clammy alarm of infected dampness of rot.
Less successful is Jaqueline Dark (I last saw her as the Mother Superior in THE SOUND OF MUSIC) as Herodias, who seems to believe stock melodrama effects in response to the events of the opera are enough to fulfil a contract of belief for her audience to the machinations of a woman scorned and full of revengeful hate.
Too, the Design image of a freezer of hung corpses looming over the action of play may now seem more than a trifle over-the-top in its constant presence - its opening impact quickly becomes a bore of visual oppression and dullness: time as wearied this concept. The costuming concept now seems dated for the other minor characters covering the ages of history, and today seems to be an intellectual over-statement.
I regard The Metropolitan Opera in New York as the Best Theatre Company in that city. The quality of the skills necessary to make opera work are available and rich in its reach of talent but is managed with contemporary design and intellectual rigour of stunning relevance on a consistent basis over the wide and extraordinary genres of the opera form. Ms Edwards' production of SALOME, seems to have satisfied my receptors with high approval and with adjustments to the passing of time in her team's visuals could well sit comfortably in that company's work.
Just why Ms Edwards sits in her home in Glebe, a stone-throw away from the performance venue where her work is re-shown by a clearly pleased Opera Management, while others attempt to recreate her work, is a question we, who travel the world and believe in the opera as a viable contemporary form need explanation, don't you think?
Gale Edwards' SALOME, you just need to see it when you can.