Currently running in stage in the Little at Southwark Playhouse, Lazarus Theatre’s version of Oscar Wilde’s Salomé proves to be a daring, electric, and exhausting feat of theatre.
How far are you willing to go to get what you most desire? That’s the question at the bloody heart of Salome. And it’s a question that so fascinates Lazarus Theatre that they’re now having a third go at Oscar Wilde’s provocative 1891 tragedy based on the Biblical tale.
The intimacy of Southwark Playhouse and some judicious rewriting by director Ricky Dukes creates a more focused, stylised production of Wilde’s scandalous take on the story of Salomé.
Post-lockdown, Lazarus Theatre returns to the stage with a revival of their 2019 gender-twist version of Oscar Wilde’s Salome, in a limited season at London’s Southwark Playhouse. Having chaired a lively discussion on this piece two years ago, I’m delighted to reunite with Lazarus for a fresh go.
“Dance for me, Salome, I beseech you.” The final production in this year’s Lazarus Theatre Company residency at Greenwich Theatre (following on from The Tempest and Lord of the Flies) is a new version of Oscar Wilde’s Salomé.
In my first of three post-show Q&As this year with Lazarus Theatre, I was at Greenwich Theatre for this pioneering ensemble company’s exciting re-examination of Shakespeare’s The Tempest.
As part of her ongoing post-show Q&A series, on Tuesday 21 May, Mates co-founder Terri Paddock chairs the last of three 2019 post-show Q&As for Lazarus Theatre, to Oscar Wilde’s Salome. Got any questions?
Malin Byström stars in the title role of David McVicar’s production of Salome, which runs at the Royal Opera House until 30 January 2018. Love London Love Culture rounds up the reviews.
Really, the kindest thing to do about Yaël Farber’s Salomé is quietly to draw a veil over it. There is bad theatre and then there is very bad acting. Sadly, Farber’s Salomé falls into the latter category.
Is God female? It says a lot about Yaël Farber’s pompous and overblown new version of this biblical tale at the National Theatre that, near the end of an almighty 110-minute extravaganza, all reason seemed to have vacated my brain, and its empty halls, battered by a frenzy of elevated music, heaven-sent lighting and wildly gesturing actors, were suddenly open to the oddest ideas.
The National Theatre has announced programme details for its new season running from April to November 2017. In addition to the two inbound political plays heading for the West End – the European premiere of Broadway hit Oslo and the staged reading All the President’s Men? – Scenes from the U.S. Senate’s Confirmation Hearings, reported here – highlights include: Jane Eyre returns, following an acclaimed …
Salome takes place in an altogether different age and the archaic language and prosaic story arc reflect this. The title character is both victim and victimiser, and Wilde plays strongly on the young woman’s hypersexualisation in the eyes of her stepfather Herod and his followers.
artistic director Rufus Norris announced the flagship institution’s 2017 season which will include four world premieres – including a current work-in-progress on the state of Brexit Britain – two European premieres and new work by Inua Ellams, Yaёl Farber, DC Moore, Lindsey Ferrentino and Nina Raine.