Salome, Hampstead Theatre

A contemporary slant on Oscar Wilde’s biblical fantasy fails to charm

by Aleks SierzThursday, 24 June 2010

Princess as chavette: Zawe Ashton in the title role of SalomeHelen Warner

The last time I saw Oscar Wilde’s biblical tale it was performed by dancer Lindsay Kemp at the Roundhouse in London, back in the 1970s, in a production that was high on dope, incense, strange vocal drawling - and which transported you very quickly to hippie heaven. Choked by clouds of fragrant perfume, weird in its singsong language and thrilling in its strangeness, this seemed like an ideal way of realising the crazy vision of this odd piece. But theatre is not about being faithful to fond memories, it’s about the constant restaging of classic plays, so this new version of Wilde’s 1892 play offers a welcome chance to reassess it.

This updated Salome comes at you shrouded in mist, with a thumping soundtrack and its pants right down at its ankles

Buy

Explore topics

Share this article

The future of Arts Journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Theatre

Richard II, Bridge Theatre review - handsomely mounted, emotionally muted Jonathan Bailey makes a petulant stage return in Shakespeare's most luxuriant play

Backstroke, Donmar Warehouse review - a complex journey through a mother-daughter relationship Tamsin Greig and Celia Imrie shine in a multifaceted portrait of motherhood

Otherland, Almeida Theatre review - a vivid, beautifully written take on the trans experience Bush's writing is as fresh as a sea breeze and as lyrical as birdsong

Much Ado About Nothing, Theatre Royal Drury Lane review - this shamelessly hedonistic production is a triumph Diamond-sharp banter and an endorphin fizz make this one of the best parties in town

Hamlet, Royal Shakespeare Theatre - Luke Thallon triumphs as the state succumbs to storms The iceberg cometh

East Is South, Hampstead Theatre review - bewildering and unconvincing House of Cards writer tackles AI and religion, but without the necessary clarity

Unicorn, Garrick Theatre review - wordy and emotionless desire New West End drama about spicing up marriage is oddly lacking in passion

More Life, Royal Court review - posthuman tragedy fails to come alive A new sci-fi gothic horror about life after death is intriguing, but flawed

Three Sisters, Sam Wanamaker Playhouse review - Chekhov's anatomy lesson on the human condition Russia - but also here, there and everywhere

Churchill in Moscow, Orange Tree Theatre review - thought-provoking language and power games Howard Brenton’s new play about Winston and Stalin is both intelligent and fun

The Years, Harold Pinter Theatre review - a bravura, joyous feat of storytelling The Almeida’s all-women hit transfers to the West End

Elektra, Duke of York's Theatre review - Brie Larson's London stage debut is angry but inert Brie Larson makes a brave West End debut that, alas, misfires

Follow @theartsdesk