Synopsis: Lovely lighting.
Although visually striking the whole night was fatally undermined by a thoroughly turgid script. And at a snail-like pace.
Encouragingly Salomé here is presented as a fresh and politically potent concept. Farber sets out to strip away the veils of myth and misogyny that hide the figure of Salomé (Isabella Nefar). She finds in her a young woman in a brutally male world and an occupied country. Raped by her stepfather (a creepily lascivious Paul Chahidi), Salomé slides around the fringes of power, her abused body a metaphor for her colonised country. Then she meets Iokanaan (John the Baptist) and realises that, by demanding his execution, she can turn him into a martyr and ignite a revolution. That apparently whimsical demand for his head is neither sexual nor capricious here but a provocative, political act.
It’s a fascinating proposition that, in theory, gives a shadowy woman voice and agency. In practice, we get no closer to Salomé. She remains a near silent, symbolic presence.
And in this silence a few people simply saw boredom. And with that boredom left mid-performance. Which was a shame. Because the bit at the end with the curtains was pure Eurovision.
A classic case of style triumphing over content.