Presented by Little Ones Theatre
The Tower, Malthouse Theatre, Southbank
Playing until September 14
A thin moral tightrope divides the better – known works of the nineteenth century British poet, playwright and author, Oscar Wilde.
On one side are his drawing room dissections of the English upper class, such as Lady Windemere’s Fan, An Ideal Husband, A Woman of No Importance, and most famously, The Importance of Being Earnest.
The other side is far darker, deeply mysterious and dangerously seductive. Like Icarus, these pieces highlight torn characters that fly far too close to the sun.
Wilde’s lone novel, The Picture of Dorian Gray, is as much about man’s will to create as well as the power to self – destruct.
His one act play, Salome: A Tragedy In One Act, based on the searing biblical fable, falls squarely into the latter category.
Banned by Lord Chamberlain until the early twentieth century, the French translation was performed in a more permissive Paris much earlier to great critical acclaim.
Recently, notable and notorious revivals have been directed and filmed by the likes of Al Pacino and Ken Russell. The Australian singer and artist, Nick Cave, was also inspired to write a five act tribute based on Wilde’s work.
A new interpretation by Little Ones Theatre turns the story and the concept on its head. Their radical gender – bending, gung – ho approach would surely make Wilde proud.
Equal parts Cabaret, Burlesque and Drag Show, this is accessible and in-your-face theatre targeted for the MTV generation. Spoken in iambic pentameter’s Old English, it is Shakespeare meets Lord of The Flies and Rock of Ages pantomime all wrapped up into one.
Lush set design by Eugyenne Teh and costuming by Teh and Tessa Leigh Wolfffenbuttel Pitt immediately set the tone and feel of this production.
When the curtains quickly part to reveal an Empire – inspired boudoir, the stage is decked out like an emerald taffeta – padded music box. The actors themselves appear to have plunged into a crazy fancy dress – up crate, giving the show a sense of off – beat yet childish menace.
As the recent ACMI exhibition at Federation Square on Hollywood Costume proved, no small detail is left to chance to help players get into character. For here, both concepts fuse together to produce a brilliant result.
A fearless cast of seven jumps into the action, propelling the story and dialogue along at a crackerjack pace.
One by one the players are quickly introduced, playing their appearance for maximum effect.
As Namaan The Executioner, Tom Dent is a cross – dressing, lipsticked bear in faux fur and ladies’ undies.
His sidekicks are Peter Paltos as The Young Syrian, is surely a Jean Genet inspired Greek Sailor. Zoe Boesen’s Page of Herodias has an apparent fetish for leather.
Paul Blenheim’s fey Salome is dressed like a balletic bullfighter. Whereas, Nick Pelomis as Herodias has stepped from the wardrobe of Dynasty.
Decked out in a sequined bikini, Genevieve Guiffre’s take on John The Baptist is a Lady Gaga wrestler meets Southern Baptist preacher.
Booming down like the voice of God, her microphone – powered speeches are highlighted with sound design by Nate Emondson.
Last but not least, my guest for the evening thought that Herod, dressed in pressed white military attire, couldn’t help but remind them of Colonel Gadafi.
Key narrative points are deliberately and hilariously cut with characters breaking into lip synchronised song.
A particular highlight is Alexandra Aldrich as Herod ‘singing’ Alice Cooper’s Poison, complete with a hand propelled wind machine and air guitar.
Like a routine straight out of Stephen Soderberg’s movie Magic Mike, Kurt Phelan has choreographed Salome’s dance as wild Flamenco strip tease. It has to be seen to be believed, and the opening night audience loved every moment.
Direction by Stephen Nicolazzo is tight; the pivotal moment in the show is the beheading of John The Baptist. Without giving away how it happens, both the set up and climactic pay off are fantastic.
As the quote Wilde himself was known for, “There are only two tragedies in life: one is not getting what one wants, and the other is getting it.”
Taking that thought and pushing it to the limit, this is event theatre not to be missed.
Image Source: Little Ones Theatre