Review: Salomé Gets A Reprieve in Gale Theatre Company Production

Taking on a story of such biblical proportions (pun intended) as SALOME is a courageous act and The Gale Theatre Company, is a courageous ensemble. "Everyone is safe but no one is comfortable," is a commitment the company shares in the program for their interpretation of SALOME. Salomé, the 'dancing woman" from the New Testament, has been depicted in all manner of artful medium - theatre, opera, poetry, film, ballet, even a video game. She is an icon, arguably more interesting even than the first woman Eve. And so it is that the Gale Theatre Company, under the direction of Katherine Wilkinson and choreography of Earl Kim, tackle this biblical figure made icon by playwright Oscar Wilde, portrayed in film by the likes of Theda Bara and Rita Hayworth. In this depiction though, we start at Salomé's end, rather than her beginning. "What does a woman do when she is left alone to grieve?"

The Gale Theatre Company's production begins compellingly and the excellent production values suggest we might be in for an evening of experimental Greek tragedy. Rachel Atkinson's lighting is beautiful and consistent with Ann Marie Gordon's scenic design in which a bath tub full of water sits symbolically up center. It's an obvious and unavoidable metaphor when exploring the story of baptism, and rebirth.

It's here in the beginning where we discover we're actually at the end of Salomé's story, and like the chorus in a Greek tragedy, the Page (Austin Vaught) and the Syrian (David Benjamin Serna) help unravel it. In Christian traditions Salomé is a temptress, a vixen, a seductress, a femme fatale who is the woman born of Mariamne and Herodias. Mariamne (Queen Herodias) divorces Herodias and marries Herod, who finds himself taken, as most all men do, with his step-daughter, Salomé. Salomé is depicted in this production in the same way in which Oscar Wilde depicted her in his play, as a woman in love with, and scorned by, an imprisoned John the Baptist. In the climax of the story, Salomé performs what is now known as The Dance of the Seven Veils for her lascivious step father, who has promised her anything at all if she does so. In revenge for being scorned, Salomé asks for John's head, and keeping good on his promise, Herod executes John, bringing his head to Salomé on a platter. In this production, as in Wilde's, Salomé (Gabriela Pedraza) and John (Kriston Woodreaux) develop a poetic and physical relationship with each other. Meanwhile Queen Herodias (Megan Rabuse) and King Herod (Tim Mateer) bicker over Salomé, John the Baptist, and the King's interest in them both. Spurned by John, Salomé eventually gives in, dances for Herod, and is rewarded with John's execution.

It's difficult to mount a story so infamous as this. It must successfully meet the expectations of those who are familiar with it while also providing a cohesive story for those who are not. The particular experimental style and commitment that the ensemble employ to portray this classic story is physically demanding and well executed. Through dance, movement and spoken word, this story of Salomé is told. However, the exploration of Salomé in this style is also a risk that leaves the audience open to their own interpretation as to its meaning. Perhaps this was intended. This style felt at times performed by the ensemble, rather than experienced, and was perhaps even a little too calculated. Salomé includes a powerful sense of sweaty chemistry and passion, fire and eroticism that felt missing in this production. It was difficult to tell if it was intentionally avoided, or if the ensemble will come to connect more deeply in further performances.

SALOME is not a poorly done piece of theatre by any means. It's got a flavor that suits many an Austin theatre-goer, and the work of such a daring theatre company should be seen and supported. This production, while not an interpretation I'd personally go with to tell this story, is solid. It is an opportunity to challenge what has been done with Salomé in the past, and its unique interpretation may be the very reason to see it. (Also, the Gale Theatre Company has a commitment to growing their actors through an Indiegogo campaign devoted exclusively to paying actors for their work. With the riches of entertainment unpaid actors in Austin provide us with, this in itself is noble, and should be supported.)

The mission of this production as implied in the program is to explore what a woman does when her identity has been stripped from her. What does she do when her body has become a weapon of death, incest and fury, and how does she find reprieve? While the answers they provide may not be for every theatre goer, The Gale Theatre Company provides a visually interesting interpretation in answer to these questions.

SALOME presented by the Gale Theatre Company

at The Vortex (2307 Manor Rd 512-478-5282)

August 5th through August 20th.

Tickets $10-$30.

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