By Marilyn Jozwik
In the days of the pandemic, a staging of a show with elaborate costumes, set, music and a full cast is a rarity. In its current presentation, Village Playhouse does all that with Oscar Wilde’s “Salome,” which revolves around the Biblical story of Judah’s tetrarch, Herod Antipas, and his manipulative stepdaughter Salome’s femme-fatale attraction to John the Baptist that leads to the prophet’s beheading.
It is an ambitious and mostly successful production, directed by Tom Zuehlke, getting some marvelous performances from key actors. The show, which is pre-recorded, is available via Zoom through Feb. 21. Tickets are $15. For information, go to www.villageplayhouse.org/salome.
Unfortunately, the show had a rocky start, with loud music and crowd noise overpowering the conversation among the soldiers (Luis Castillo, Todd Herdt and John Goltz) and the queen’s page (Amy Wickland).
Hannah Kubiak as Salome soon appears and her seductive ways are put to use as the story’s themes of lust, greed and power begin to play out. During a celebration, the young Syrian guard, Narraboth (Goltz), has been gazing, almost trance-like, at Salome, fixated on her beauty like a teen with a crush, while the queen’s page repeatedly admonishes him. Kubiak’s Salome exudes poise and confidence, and a playful, flirtatious manner. She’s certain that her wiles and beauty can be used to her advantage. She charms Narraboth and easily convinces him to bring her John the Baptist (Derek Jacobs), a prophet and follower of Jesus who has been imprisoned for preaching the word of God.
Salome is fascinated by the prophet, and their scene together is intriguing in its dynamics. Kubiak’s Salome is seductive, saying John the Baptist is “like a moonbeam, a slash of silver.” She adds, “I am amorous of your body,” and talks erotically of his hair and mouth. Meanwhile Jacobs’ John bristles at Salome’s advances, snarling, “Do not speak to me, I listen only to God.” Jacobs plays the prophet with an inner strength and conviction that ripples through his characterization.
Herod (Eric Madson), is also entranced by his stepdaughter, asking her to perform a dance at the party he’s hosting, much to the disgust of his wife, Herodias (Stacy Madson). Eric Madson and Stacy Madson are wonderful as the feuding couple, exchanging barbs and disagreeing on their assessment of John (she does not believe his teaching and is not a big fan; he is uncertain of his powers and his relationship with Jesus, but does not want to see John killed.)
Madson is spellbinding as his crazed Herod throws his crown of roses – which he says are burning his head -- leaving a blood stain on the table, an omen of death. Earlier, he had slipped in the blood of Narraboth. Herod is terrified of death. Madson infuses his character with anguish and confusion as his Herod rails and contorts in a fit of paranoia. Meanwhile, Herodias mocks him, saying, “What do you care if she dances in blood? You are so deep in it.”
Herod finally convinces Salome to dance, saying she can have anything she wants if she does so. After the dance, she says she desires the head of John the Baptist on a platter. At this suggestion, Herod again is anguished, as he doesn’t want to betray his oath yet does not want to see the prophet killed. Herodias, meanwhile laughs at his dilemma.
The Dance of the Seven Veils was rather disappointing. As was brought up at the talk-back, its background music is quite unpleasant. It has the sound of something poorly digitally produced. The rather long dance scene was visually appealing, with dreamlike layering on Salome. There probably was too much movement; something slower and suggestive would have worked better for the character.
The play, nonetheless, was well-staged and professionally videotaped using multiple angles and techniques . Costumes and set pieces were appropriate and substantial, while lighting was muted, all enhancing the production.