Gory Gory Hallelujah! Salome at Opera Theatre of St. Louis

You can take it as gospel: Opera Theatre St. Louis’s gory and gritty production of Salome is a superbly executed tour de force.

One of the highlights of Salome is watching OTSL favorite Kelly Kaduce take the reins of the production and never let go. She commands the audience with one of the most fearless performances of the season, adapting her vocal range to convey the wide array of emotions displayed by the enchanting yet scary, Salome. The linchpin of this opera is the legendary Dance of the Seven Veils. Every interpretation of Salome defines itself by the presentation of this dance. Kaduce’s interpretation is saucy and seductive yet tasteful and transfixing. Kaduce doesn’t slow down here. As the body count rises, she again holds court over a captive audience at the end of the production when Salome undergoes a complete psychotic breakdown.

The supporting cast is not too shabby either. Michael Hayes is wonderful as Herod. Obviously, there’s little fun in playing one of the main villains of the bible, yet Hayes lives up to the challenge. He juggles the duality of the tetrarch, moving seamlessly from a lecherous tyrant to a tortured leader. Hayes’s finesse is exciting to watch. A fine OTSL debut is also turned in from by Gegory Dahl as Jokanaan. His voice is the perfect counterbalance to Kaduce’s and gives the duo a genuine chemistry onstage. Eric Margiore and Maria Zifchak round out the cast with solid performances.

The opera opens at King Herod’s birthday party where the perverted monarch begs his step daughter, Salome, for a special dance. Creeped out, a repulsed Salome leaves the party for some night air. While outside she hears the voice of the imprisoned prophet, Jokanaan (aka John the Baptist). His voice transfixes her. The gist of Jokanaan’s prophecies are not lost on Salome who becomes intrigued and asks Narraboth, the captain of the guard, to let her gaze upon the prisoner. Narraboth, who also is smitten with Salome, refuses. Not one to give up, Salome uses all of her beauty to coerce Narraboth into bringing out Jokanaan for her.

As the jailed prophet speaks to her she is both fascinated and disgusted. The only thing on Jokanaan’s mind, however, is the coming of the Messiah.

Things get even more out of hand when Herod returns. Undaunted, Herod again pursues Salome who rebuffs his advance. The ever persistent Herod offers Salome anything she wishes in exchange for her dancing for him. Salome agrees — providing Herod keeps his end of the bargain. She then prepares for the Dance of the Seven Veils.

It is here where this traditional biblical tale meets erotica. Salome is so alluring that not even a powerful tetrarch can help but be enraptured. Having granted Herod’s request, Salome wishes to have the head of John the Baptist brought to her on a platter.

The request greatly disturbs Herod, who despite all of his royal power and majesty, cannot persuade Salome to change her mind. He offers her various fortunes as alternatives to no avail. Salome is determined to get what she wants. Herod finally succumbs to her wishes and executes Jokanaan. His head is brought to Salome who horrifies the onlookers by kissing and touching the severed head. Having seen enough, Herod escalates the bloodbath by ordering his soldiers to kill Salome.

Despite splattered blood and lopped off body parts, Sean Curran’s vibrant set serves as the perfect backdrop for the filth and fury portrayed center stage. His wide open stage design frees Kaduce and the cast to move about and ratchet up the tension. The effective use of spotlights during key moments of the production punctuates the action on stage. The audience is further drawn in by the musical crescendo from Stephen Lord’s masterful manipulation of the St. Louis Symphony. The ensemble’s skill results is one of the best scores at OTSL in recent years.

Opera Theatre of St Louis’s production of Salome is a relentless feast of blood and guts. Based on Oscar Wilde’s play and Richard Strauss’s opera, the production features an amazing cast, a stunning set and invigorating music. This synchronicity makes this one act tale of passion, decapitation and faith the must see of the OTSL season.

Salome is performed onstage at the Loretto-Hilton Center.

June 24, 1:00 pm

June 28, 7:00 pm

For more information visit www.experienceopera.org.