Salomé | M-34

SALOMÉ

by Oscar Wilde, translated and directed by James Rutherford

at the Irondale Center, October 2018

Featuring performances by Patrick Cann, Ross Cowan, Jon Froehlich, Catherine Gasta, Charise Greene, Julia Gu, Brough Hansen, Jonathan Harris, Marty Keiser, Lizzie King-Hall, Jamie Lowenstein, Stephanie Orta-Vázquez,

Louie Pearlman, Rava Raab, Alexander Reed, Justin Reinsilber, Laura Butler Rivera, Anthony Simone,

Lisa Tharps, Rudi Utter, Feathers Wise and Jing Xu

Choreography by Jess Goldschmidt, projection by Wladimiro Woyno and associate Lacey Erb, costumes by Lara de Bruijn and associate Madeline Berger, scenery by Oona Curley and associate Santiago Orjuela Laverde, lighting by Kate McGee, sound by Michael Costagliola and associate Sinan Zafar, associate direction by Dan Rogers, stage management by Isaac VanCuren, technical direction by Rudi Utter, production support by Anna Brenner and Marty Keiser, and press representation by David Gibbs/DARR Publicity

“Rutherford enlivens the source material turning an oft-misunderstood and rarely performed Victorian relic into a vital and relevant parable of criminalized otherness.”

— Angelica Frey, Hyperallergic

"A bold interpretation of one of Oscar Wilde's stranger and more provocative plays …. Salomé is a tense journey back into history and legend that is nevertheless forever relevant, reminding us that unchecked desire can lead to ruin, even for the most powerful among us."

— Regina Robbins, Theater is Easy

"Rutherford’s admirable translation stays close to the original, giving us Wilde indeed, flaws and all. It’s a fascinating glimpse into the mind of a man who remains one of our most fascinating literary personalities more than a century after his death."

— Jon Sobel, BlogCritics

"This production is terrific, brilliant! James Rutherford directs with surety and conviction. He knows why Wilde wrote that way and he relishes every lavish image, while keeping his actors moving to counter the verbiage. His characters are in apotheoses of emotion. They’re not insane - they’re possessed."

— Steve Capra, New York Theatre

"Rutherford's new take on the tragedy retains all the grisly aspects of Wilde's play. But he re-imagines it at a slightly different level of vibration."

— Elyse Sommer, CurtainUp

"The idea of gaze, how it works, who is allowed to wield it, and how women are supposed to best graciously receive it, is woven throughout this sultry adaptation of Wilde’s controversial and under-performed biblical adaptation."

— Michael Niederman, New York Theater Review