Review: Salome, Theatre Royal Haymarket

The biblical story of Salome is quite a simplistic affair, and while the events are quite twisted, it’s a succinct parable that is told in a concise manner. The absolute opposite applies with Oscar Wilde‘s adaptation, however, which adds enormous depth to the characters and considers a great number of idea. This latest interpretation from Gesher Theatre is a frequently astonishing and intensely sensual creation.

Set in the court of King Herod, an uncomplicated mixture of sumptuous furniture and intricate lighting creates a feeling of luxury before a word is said, while an onstage pianist complements this delectable atmosphere. It’s representative of the whole play, where the skilled direction of Maxim Didenko gives the work a very stylish yet naturalistic tone. Centering around the worryingly childish and impish Salome (Neta Roth), she’s used to being the object of desire, and manipulates everyone she encounters with the smallest glance or sliver of dialogue, at least until she encounters a man who rejects her without ever seeing her, and this choice leads to devastating consequences. 

Doron Tavori’s Herod has hints of Donald Trump in his arrogance and ill-thought-out desires, but there’s much more going on with the performance than any simple caricature. It’s a remarkably refined study of a man who is absolutely convinced of his beliefs, and who is clearly used to no one ever saying no to him. It’s matched by Roth’s Salome, an individual who initially seems to be whimsical and playful, and yet, as with Herod, there are many more aspects to the role which make it a fascinatingly sympathetic, but also disconcerting portrayal, of a woman surrounded by arrogant, violent men. 

The infamous dance scene for which the production is best known for may be short, but it’s also unforgettable, as is every second of the show that follows it. Throughout, it’s an incredibly memorable show which feels terrifically intense almost from the get-go. There’s a short period of scene setting at the beginning, but then it’s enormously gripping as this quite extraordinary battle of egos and desires grabs you by the throat, and doesn’t let up for its entire running time. It’s a rare occasion where there’s no filler here; every line serves a very clear and distinct purpose, and all of them lead to a stunning finale.

Wilde’s script is Shakespearean in scope as it tackles the greatest of themes, and it’s intoxicating to listen to his beautifully poetic dialogue. It’s matched by stunning performances from every single cast member, and is one of those productions where an actor may only deliver a few lines but still manages to impress. There have been several absolute must-sees in London this year, but this leaps to the top of that list, and I’d be amazed if it’s not still in that place come the close of the year.

Written by Oscar Wilde
Directed by Maxim Didenko
Produced by Gesher Theatre

Salome plays at the Theatre Royal Haymarket until Saturday 11 October.