Who knew there was an Oscar Wilde play that has never been professionally produced in the Twin Cities? Grant Sorenson, that's who. The actor-turned-director (
he directed a couple of really great plays in the pre-pan years) moved home last year after receiving his MFA in directing from Boston University. Last fall he created a monthly play reading series called
Table/Read, in which the audience doesn't know what play is being read until moments before it begins. And now he is producing and directing
Salomé, hopefully the first of many unique and creative theatrical endeavors to come. Because
Salomé is not just a play, at least not in the traditional sense of a stage and an audience separated by space and darkness. It's an immersive (but not interactive) experience that literally puts you right at Herod's banquet table. Which is not always a comfortable place to be, but always thoroughly captivating. With a talented eight-person cast performing literally a few feet in front of you and gorgeous 360-degree design,
Salomé is not to be missed, especially if you're interested in theater that pushes the boundaries of what we think theater can be. But hurry -
there are only three remaining performances and seating is limited.
The one-act play is based on an obscure biblical story about King Herod's stepdaughter who calls for, and receives, the head of John the Baptist. But don't worry, you don't need to know the story or the characters to fully enjoy this piece. Walking into PAIKKA, a wedding venue across the hall from Gremlin Theatre in Vandalia Tower, it looks like you've come upon the remnants of some bacchanalian feast. Two long tables line the space, a table setting at each place, some of the plates strewn with bits of food. Platters line the tables with the bones of some recently devoured animal, pistachio nut shells, pieces of bread, fruit, and other items you might find in a still life. The audience sits on the outer side of the tables (and a couple raised rows of chairs behind), the inner side left open for the players - and they sit in the chairs, eat the food, drink the wine, and more, as the party gets more and more out of hand.
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the servants gossip before the family enters
(photo by Molly Jay Photography) |
The play begins with four servants discussing their employers - King Herod, his wife Herodias, and her daughter Salomé, whom one of them is a little too enamored by. We also learn that Herod is holding a prophet named Iokanaan (aka John the Baptist) for speaking out against his marriage to his brother's wife, and we hear his words before we see him. The guards are wary of him, but Salomé is fascinated, and demands to see him. The dirty rag-clad prophet enters, and Salomé attempts to seduce him, turning against him when she is rebuffed. Herod and Herodias enter looking for Salomé to return to the party, and then the madness really begins. Herod asks Salomé to dance for him, promising her whatever she asks for, and she demands (with her mother's encouragement) Iokanaan's head. Be careful what you wish for.
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Herod (Nathan Keepers) and Herodias (Emily Gunyou Halaas)
(photo by Molly Jay Photography) |
Although written 130 years ago and depicting characters from thousands of years ago, this play feels so modern and immediate. That's partly due to the genius of Oscar Wilde, but also largely due to the direction, immersive staging, the very present actors, and the modern design. It's like we're in the room observing a dysfunctional family and their staff as they navigate religion, power dynamics, and complicated relationships. Stephanie Kahle, Sri Peck, Kai Brewster, and Kashif Shakti play the family servants, dressed in identical neutral toned pants and vest, but manage to create distinct characters and relationships. Logan Lang is fully committed in his performance as Iokanaan, almost animalistic, spouting prophesies with total conviction, lurking around in the corners of the room in an unsettling way. Any Tonoyan is radiant as Salomé, figuratively and literally in a long-sleeved floor-length disco ball dress, fully embodying the spoiled princess used to getting what she wants. As usual, Nathan Keepers throws himself completely into the role of the mad King Herod, wild-eyed and crazy-haired, gesturing wildly. And Emily Guyou Halaas is right there with him as Herodias, the two of them the picture of a wealthy, powerful, corrupt couple, dressed in glamorous and glittering party wear, increasingly disheveled. It's quite a thing to witness their decline up close and personal.
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Salomé (Any Tonoyan) pleads with Iokanaan (Logan Lang)
(photo by Molly Jay Photography) |
The overall effect of the design (by scenographer Josh Oberlander and lighting designer Jacqulin Stauder) is striking, starting with the impeccably detailed table setting and one very creepily realistic prop. The event space is used well; the garage door at one end of the space is opened to allow for entrances and exits to the cold dark outdoors (there are no matinees, daylight just doesn't seem appropriate for this show). The night I attended was so cold as to make one fear for the scantily clad actors' safety as they go out into the night, but the wind blowing the silver confetti across the floor is a great effect worth the chill. The warm dim party lighting makes way to stark white light, revealing the metaphorical darkness of the story.
This is a rare chance to see Oscar Wilde's play Salomé, and not just see it, but experience it as if you were a guest at this very uncomfortable and disturbing, yet fully engrossing, party. Theater doesn't get much more thrilling and immediate and visceral than this.
