In the week of the Brett Kavanaugh hearing in the US, and the ongoing MeToo movement, which both raise potent and complex questions surrounding male power and control, toxic masculinity and the male gaze, and whether women “ask for it” by behaving or dressing provocatively, English National Opera’s 2018/19 season opened with Richard Strauss’s dark and disturbing psycho-drama Salome in a visually striking and elegantly-sung new production.
The narrative is well-known, from the Gospels and the play by Oscar Wilde, from which came Strauss’s influential transformation into an opera, premiered in Dresden in 1905 in that heady, decadent era before the outbreak of the First World War. At its premiere, the opera perfectly caught the spirit of its time – the era of Freud and Jung, Beardsley’s Yellow Book, and the art of Klimt and Schiele – and was an instant success. This new “feminist” production, directed by Adena Jacobs, also catches the zeitgeist. Freighted with contemporary sensibilities and preoccupations, the opera offers a warning about the dangers of toxic masculinity and unchecked female desire. The spare modern setting with references to contemporary life, pop culture and gender fluidity further underline this.
Right from the outset, we know that “terrible things will happen”. In fact, we never actually see the head of John the Baptist (or Jokanaan as he is in Wilde’s and Strauss’s versions), but we know it’s coming. It arrives not on a silver salver but casually chucked in a plastic bag such as the type in which one might carry a takeaway curry. Earlier in the play, a pink horse, its cascading entrails represented by pink and red flowers, is brought on stage. Decapitated, it provides a metaphor for the final denouement.
Strauss’s music is haunting and sensuous, pungent and perfumed, and because the work is organised in one act, with an almost continuous flow of action, one has the sense of the tension-laden drama creeping inexorably to its brutal conclusion. Under the baton of ENO music director Martyn Brabbins, the orchestra shone, bold and beautiful.
Salome herself, sung by Allison Cook whose light soprano seems just about perfect for this role, is a pouty teenager who insinuates her way on to the stage and into the action as Narraboth (powerfully sung by Stuart Jackson) extolls her erotic girlish charms. Largely presented in darkness, Narraboth and his cohort are in a roped off area, as if waiting to spy a celebrity at a red-carpet event or queueing to enter an exclusive nightclub, while Salome remains quiet and aloof in the darkness, the light occasionally catching her pale blonde Ariana Grande-style ponytail.
The voice of Jokanaan is heard first via a loudspeaker. David Soar’s baritone is rich and declamatory, and when the scene shifts to the cistern in which he is imprisoned, strikingly lit from above suggesting a prison grille, we get a close up projection of his mouth forming dark prophecies and stentorian outpourings. Presented initially in monochrome, it changes to colour as the heat of Salome’s desire increases. It’s moist and plump and when the camera turns 90 degrees, it looks like a vagina….. All this, appropriately, while Salome sings of her lascivious desire to kiss Jokanaan’s lips. Narraboth, meanwhile, is voyeuristically filming the proceedings on a hand-held video camera, hardly able to contain his base urges before he kills himself.
The ensuing banquet scene presents Herod (Michael Colvin) as a bumptuous prancing clown, luxuriating in Narraboth’s gore which puddles on the stage. While he drunkenly cavorts, his wife Herodias (Susan Bickley) looks on, haggard and tight-lipped with disapproval. In contrast to the salacious action on stage and the decapitated My Little Pony with its spewing entrails, a giant image of a beautiful blindfolded boy – somewhat androgynous – fills the backdrop. Caravaggio-like, it was, for me, one of the most striking visuals of this visually-arresting production.
Salome’s girl-gang of maidservants perform the Dance of the Seven Veils. Béyoncé lookalikes – all swinging ponytails, golden leotards, face masks and chunky trainers – their dance is a mixture of aggressive pelvis-thrusting body-pump and sensuous masturbatory writhing. While this goes on, Salome tugs her long hair away, revealing a boyish cropped cut, perhaps signalling her appropriation of masculine powers.
And so to that denouement……You know full well what’s in the plastic bag – it has a horrible dread weight about it, palpable even from the Dress Circle. It’s like that scene in the film ‘Seven’, when Kevin Spacey appears before Brad Pitt with the closed cardboard box… We don’t need to look inside to know that something terrible, horrible, and disgusting is in there. The fact that Salome hardly looks at the bag containing the Baptist’s head lends an equal sense of disgust, as if she is cannot bring herself to look at the thing she thought she most desired. This recalls her first encounter with Jokanaan, where, despite her lascivious obsession, she never actually looks at him directly. The kiss, when it comes, is not placed upon Jokanaan’s dead lips but those of Herodias, Salome’s mother (who wanted Jokanaan dead all along). So “the shudder that counts” (Wilde) – maybe it was all in Salome’s head?
Salome continues at English National Opera until 23 October
FW
(Header image: Allison Cook as Salome; Jokanaan in his cistern by Catherine Ashmore)
