Opera review: Salome – A radically feminist version of the story

3 / 5 stars
Salome at the English National Opera

When I first heard about this production of Richard Strauss’s Salome, I was rather perplexed.

Australian director Adena Jacobs was offering a radically feminist version of the story (Image: ENO)

The Australian director Adena Jacobs was, we were told, offering a radically feminist version of the story, but what, I wondered, could be more feminist than the tale of an unruly princess who, with her Dance of the Seven Veils, seduced King Herod into offering her anything she wants, then demands the head of John the Baptist on a silver platter? 

Having seen it, I am still bemused.

Was Allison Cook’s evident erotic arousal at hearing John the Baptist’s religious oration supposed to be a feminist perspective?

Was her performance of one aria topless also a bold feminist statement?

Was the portrayal of King Herod as a bit of a loony meant to offer some sort of explanation for the behaviour of his step-daughter Salome, or should we blame her mother, Herod’s wife Herodias? I’m really not sure what to think.

And why did John the Baptist appear wearing women’s shoes?

Allison Cook would at least have peeked into the plastic bag containing John the Baptist’s head (Image: ENO)

A three star performance of a two-star production of a four-star opera (Image: ENO)

On the plus side, Allison Cook’s performance in the title role, despite everything the director made her do, was very impressive and committed in both voice and acting, and the orchestra, conducted by Martyn Brabbins, played Strauss’s gorgeous music superbly, but it was difficult to take the whole thing seriously, even with the vast amounts of blood on the stage.

And surely, considering the general gruesomeness of it all, Salome would at least have peeked into the plastic bag supposedly containing John the Baptist’s head.

She has been going on so much about wanting to kiss his lips, and he was even wearing a ridiculous camera attached to his nose to show those lips in close-up as he ranted, she would surely not have been content to kiss the outside of the bag (even if she did have to pay an extra five pence for it).

With Herod (Michael Colvin) too silly, Herodias (Susan Bickley) rather over-the-top and the John the Baptist figure of Jokanaan (David Soar) all lacking the conviction needed to make a strong mark, Allison Cook was the undoubted star of the performance. On the whole, though, it was a three star performance of a two-star production of a four-star opera, which averages out at the three stars I give it. 

Tickets: 020 7845 9300 or www.eno.org (last night: October 23)

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