by ERIKA SASSEVILLE

It’s a difficult time to be making theatre in Minnesota right now, but it may also be the perfect time to watch a foolish strongman brought to his knees by his own lascivious nature and the desires of the women around him. If you agree, check out Salomé by Oscar Wilde running one more weekend, this Thursday-Saturday February 26-28 at PAIKKA in St. Paul. Salomé tells the story of the titular princess of Judea (Ani Tonoyan) who danced for her stepfather, Herod (Nathan Keepers), and when promised anything she desired for pleasing him she demanded the head of Iokanaan (aka John the Baptist, Logan Lang). Director Grant Sorenson (in partnership with PAIKKA through their inaugural Creative Cohort) has created an incredibly cohesive “semi-immersive” production buoyed by the charismatic and deeply thoughtful performances by the cast. Written by Oscar Wilde in a time when biblical characters were banned on London stages, the script absolutely vibrates with satire, comedy, and social commentary that still resonates 133 years after its debut in Paris.

The show begins with four servants/guards played by Stephanie Kahle (Narraboth), Sri Peck (Manasseh), Kashif Shakti (Namaan), and Kai Brewster (Issachar) who provide set up for the context of the story and are trapped by circumstance to follow the orders of the royal family into tragedy. The four actors do a wonderful job differentiating their personalities and intentions. The lovesick Narraboth, the steady Manasseh, the boisterous Namaan, and the stern Issachar all remain at the service of their employers, doing their work but showing in their expressions and physicality how it affects them with subtle emotional specificity. Ani Tonoyan and Logan Lang as Salomé and Iokanaan are drawn together by fate and misfortune, pushing and pulling against the characters around them and the preordained fate that awaits them. Lang’s booming and magnetic voice is heard from above nearly as much as he is seen on stage, and I must give him some praise for agreeing to be so scantily clad going in and out of doors in the middle of a Minnesota winter. Nathan Keepers as Herod and Emily Gunyou Halaas as Herodias give masterclass performances from the moment they enter the room. Keepers is unbelievably energetic and enthralling as the detestable Herod, while Halaas absolutely oozes with Real Housewives-energy as the embattled queen. Both wield their dialogue with precision and authenticity, and Keepers delivers one of the most captivating monologues I’ve seen in years. It’s made only more impressive because the monologue is almost entirely a list of objects (this might sound dumb, but if you try to make a list of objects sound interesting and emotionally impactful for 2 minutes and then you’ll get it.)

For the production, PAIKKA is transformed into the banquet hall of King Herod’s birthday celebration, complete with tables cluttered by “dirtied” plates and bowls that create the alley where the action takes place. With audience members able to choose from seats on the outside of the banquet tables as well as seating banks on the edges of the hall, the staging gives the audience the feeling of being guests at Herod’s table and witnesses to to the events that unfold. Through the excellent use of varied and creative lighting sources, designer Jacqulin Stauder highlights equally the moments of dreamy longing and lust as well as the stretches of tense foreboding when the story reaches it’s unavoidable conclusion. Strands of silver tinsel and layers of rounded silver confetti strewn across the floor beneath the garage door leading outside the hall create an absolutely delightful effect: the noise and tumbling of confetti rolling across the concrete floor echoes the desolate and desperate feeling of impending doom each and every time the garage door is lifted and wind rustles into the space. The vibes are immaculate.

Whether or not you’re familiar with the biblical tale, you’re sure to be familiar with the themes of this production. We’ve all seen recently what happens when those with the most power are driven by greed, lust, anger, fear, and self-involvement. Spoiler alert: it’s not good… This production is inventive, cohesive, and comes in at a crisp 90 minutes with no intermission. So if you can take the time to make it to the theatre this week, consider Salomé.

https://www.salomempls.com/event-list