EDINBURGH 2023: Review: SALOME, Bedlam Theatre

There is something surreal about watching a play banned for blasphemous biblical portrayal in an old Church. Embedded with symbolic poetry, repetitive references to the moon and the desire to kiss a severed head, Philomene Cheynet's interpretation of Oscar Wilde’s Salomé presents an unusual twist on the classic biblical tale.

The play depicts King Herod’s creepy fixation with his stepdaughter Salomé. To satisfy her captive mother, Salomé agrees to sensually dance for Herod if he brings her John The Baptist’s head on a silver platter. With comical portrayals and exaggerrated death scenes, director Philomene Cheynet’s interpretation suggests a farcical melodrama more than a tragedy – this perspective works well, especially considering the challenges this text brings.

It is Angus Morrison’s Herod who steals the show. He presents a fresh, unusual Jim Carrey-esque portrayal of the evil King. He is comically absurd yet withholds his royal power. He is complimented by Clare Robinson’s Salomé, whose sultry obsession with a severed head is undoubtedly challenging yet highly believable. Character make-up seems reflective of Aubrey Beardsley’s iconic drawings of the play, with abundant glitter paying homage to Wilde’s celebration of camp culture. This is a strong concept but could be exaggerated even further.

Smaller characters played by Finnian Smyth, Michelle Michaels, Peter Crighton, Michael Johnson and Ray Finlayson were amusing comic relief, providing snide side-comments during each scene. Arianna Branca was appropriately aggrieved as Herodias, Lauchlan Robertson's Jokaanan was haunting and endearing. 

A few things could be improved: Nat Lamont’s lighting didn’t always light everyone sufficiently, some of Nhi Tran’s costume choices were unclear. The iconic dance of the seven veils was lovely but needed more spectacle for it to be truly iconic.

The play is a welcome interpretation of an ambitious piece.

Salomé is at the Bedlam Theatre until August 13

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