To enjoy this show it is necessary to know one of two things: the Korean language, or Oscar Wilde’s play Salome back to front. In these circumstances you may be able to appreciate this traditional Chinese dance interpretation of the famous biblical story. Otherwise, like me, you will have no idea what is going on.
The Fringe Guide’s synopsis for the show tells you more about the performance than the performance does. As a solo show, one actor jumps between multiple characters, but the character changes are barely discernible and the dialogue impossible to penetrate. Subtitles are projected onto the back wall but these are grammatically incorrect, far too scarce, and even partially obscured by the curtains drawn across the centre of the stage.
The dancing is actually good, and may have been effective in a larger venue, and paired with some context for the plot, words, at some points even the music. But without all this the movement generally gave the impression of a colourful grasshopper trapped in a matchbox.
The lighting and costumes were pleasing as well and could have aided the swooping dance moves if the sleeves hadn’t gotten caught on the mid-stage curtains. More frequent and intelligible subtitles and perhaps a programme to give the show some background would help satisfy a wider audience. But as it is now, I wouldn’t pay to go see this show if Salome herself came back from the dead and begged me to.
