REVIEWS FOR SALOME: DA VOODOO PRINCESS OF NAWLINS
Scott Stiffler for The Villager:
"A worthy successor to February’s ethnically diverse and relentlessly intense Black Panther Party version of “Othello,” Rebel Theater Company returns to The Nuyorican Poets Cafe with a similarly ambitious adaptation. Director and playwright Rajendra Ramoon Maharaj, the man with the “Panther” plan, sets his “Salome” in New Orleans during the violent height of Hurricane Katrina. Primarily concerned with the devilish deals we make in order to survive, rather than the gross indecency of Oscar Wilde’s original, there’s still enough sin and skin on display to merit that “Adults Only” disclaimer (Salome’s Dance of the Seven Veils was so steamy, it set off the smoke detector at last Saturday’s performance).
The opening scene finds an elderly man in Holt Cemetery, surrounded by advancing waters and showing signs of a heart attack. Accepting a challenge from the soul-collecting Papa Ga, Noah vows to save himself by listening to the tale of Salome, and resisting her siren pull. It’s a great framing device that ups the stakes of every test of faith and battle of wills to follow. Even better is how the children of Israel are reimagined as zombies trapped in purgatory, each doomed to repeat the particular hell of their own creation. Haunting all sides of the stage for much of the play, and intensely committed throughout, the torment they generate spills into the tension between the deeply conflicted main players. Apart from the occasional pop reference (Salome dances to “When Doves Cry”), the use of a cappella spirituals as a plot-advancing device effectively hammers home the notion that floods may kill flesh, but faith saves souls."
Aker: Futuristically Ancient:
"One of the most compelling aspects about art is that it can make you feel different emotions at the same time depending on the multiple contexts that you bring to it and the representations presented to you. For example, there is a lot of conversation surrounding the multiple receptions and audiences for Kara Walker’s Marvelous Sugar Baby piece — the discussions centering on the line between the intention of the art and the art becoming a spectacle erasing the intention. Those complex feelings arose for me while watching Rajendra Ramoon Maharaj’s musical, Salome: Da Voodoo Princess of Nawlins. at The Nuyorican last Thursday.
Adapted from Oscar Wilde’s 1891 play Salome(which Richard Strauss also adapted into an opera), Maharaj translates this modern retelling of the Biblical story of Salome to the setting of modern day 2005 Katrina-ravaged New Orleans (Nawlins). If you are not familiar with the story, Salome was a Jewish princess who requested the head of Jokanaan (John the Baptist) on a silver platter for dancing the dance of the seven veils for her stepfather. In this version remains the crossings between religion (ex. idol worship), death and sexuality as well as Christianity and pagan religion, specifically Voodoo. The musical begins with the character of Noah (Christian Lee Branch) who is in danger of dying in the Hurricane Katrina storm when he is confronted by Papa Ga (Audrey Hailes), who is similar to the darker aspect of Papa Legba, Kalfou, loa of disorder. Noah, his name an obvious reference to the Biblical character, wants to survive the storm, but he first has to make a deal with Ga — he has to make it through an underworld journey through the telling of Salome’s story.
Ga was my favorite character in the musical. Some may consider the character to be evil, but to me he is part of the chaos and struggle of life that strengthens Noah’s character. Also, Hailes’, who has worked with Colored Girls Hustle, portrayal was ominously lively, funny and whimsical, unlike the background black, silent executioner Naaman in the original, and gave the right amount of irreverence in true Wilde style as the other characters, like Noah and Ja aka John the Baptist (Brandon A. Wright) sang gospels songs and traditional spirituals. Her presence highlighted the ambiguity and androgyny of the Papa Ga character and the work.
The arrival of the Salome character is where it became complicated for me as a black woman and exemplifies how the translation of texts from one context to another creates more layers. Played by Deja Nelfiria, at first, her character comes across as hypersexual, aggressive, and overly seeking male affection, especially from Ja who refuses her attention. Watching her, I cringed a bit thinking would the audience empathize with her? She comes across as a stereotypical Jezebel-like, femme fatale character and with the association of Voodoo, almost oversexualizing it as a “seducing” religion. Luckily her role is fleshed out in the story’s revelation that her antics were a result of much sexual and physical abuse and objectification of her, including from her own stepfather and with John’s righteousness, he could not see that. Nelfiria gave a great performance delivering the weight of the scene. We see a subtle commentary on the “virgin-whore” dichotomy of the male gaze on a black woman — white men who lust after her and black men who resist her, which also reflects the oversexualizing of Voodoo.
Another standout scene was obviously the Dance of the Seven Veils, which was in limited lighting (the veils), smoke-filled and had shedding of clothes, with its use of popular music that allude to the original play Britney Spears’ “Slave 4 U”) and Prince’s “When Doves Cry” to instrumental rhythmic and drumming music suggesting that the descent further into the underworld is not all demeaning, but an attempt at reclamation of her feminine power. These scenes allowed for the musical to be more complex than it may seem on the surface and continual reexamination of the entire story, and while it may thread the line of insightful work and superficial spectacle, the former still shines through thanks to the thorough contributions of everyone.