October 4, 2018

By avoiding real gore and giving us my little decapitated pony cartoon gooey gore we are forced to confront our own desires, our own expectations and here director Adena Jacobs’s new production for English National Opera has done something interesting.  He’s given Salomé back her dignity, twisted, death obsessed, vain and impulsive she may be, but here she’s in control of it all.  The others are all her toys, to play with, pull apart, or avoid being played with. She’s defiant and threatening, abused and abusive, swinging her aluminium baseball bat, making it clear she’s as much pitcher as catcher. It’s all about the gaze in the end, the ones not given and the ones stolen without permission. She’s the one to decide who gets satisfied and if it’s not to be her, then none of us will get any.

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