Regents Opera's Salome: A Disturbing and Dynamic Fringe Production

Regents Opera's Salome: A Disturbing and Dynamic Fringe Production

Regents Opera, the wildly ambitious fringe company, has taken on Strauss's most dangerous opera, Salome, with a production that blends righteous fury and dynamic clarity. Staged at York Hall in Bethnal Green, London, this lean interpretation, directed by Mark Ravenhill with gangsterish overtones, focuses intensely on the contrasting dramas of its roles, offering a fresh perspective on the classic work.

Ambitious Undertaking in an Unconventional Venue

Following last year's acclaimed Wagner Ring cycle in the same historic East End boxing venue, Regents Opera returns with a 24-piece ensemble for Salome. The orchestra, seated at the far end of the space, played a custom arrangement by Nigel Shore, which, while lacking the luxuriant string textures of Strauss's original due to limited players, provided unusual clarity. Conductor Ben Woodward's boundless energy drove the performance, with the setup offering a built-in balance aid for singers on a runway-style stage protruding through the audience.

Standout Performances and Vocal Prowess

The cast delivered powerful performances, with Freddie Tong's Jochanaan showcasing Wagnerian-scale fury, even with his back to the audience. James Schouten's Narraboth was rich and warm in tone, while Mae Heydorn's Herodias brought blistering intensity, pairing effectively with Robin Whitehouse's underpowered Herod, portrayed as a rubbish white-suited gangster. Among smaller roles, Felix Kemp and Davide Basso stood out, but the production hinges on its title role.

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Kirsty Taylor-Stokes: The Production's Finest Asset

Kirsty Taylor-Stokes excels as Salome, mastering Strauss's fiendish vocal writing with a lush soprano, thrilling low notes, and only occasional shrillness in the upper register. Her acting is equally persuasive, embodying a rebellious teen in a Guns N' Roses T-shirt in Ravenhill's modern-ish production. The Dance of the Seven Veils sees her seize clothing from others, moving with the confidence of a trained dancer. By the climax, the cast stands averted as Taylor-Stokes delivers a compelling and disturbing monologue with Jochanaan's severed head, making this as unsettling as it gets.

This production runs at York Hall until 23 April, continuing Regents Opera's tradition of against-the-odds critical acclaim in fringe opera.