“Some things cannot be written about. They must be witnessed. . . . Salome is not named in any of the [ancient] accounts. The real girl in the story is literally nameless. It’s hard to think of a better metaphor for ways in which women were written out from the ancient scriptures. . . . The prophecies of John the Baptist and Jesus have [always] been interpreted in a Christian , messianic sense. But what if they were deeply political figures in an occupied country? . . . Much like Salome’s body, we continue to impose our fears and longings onto the Middle East and its current realities. . . . I am interested in telling a story that awakens the feminine narrative, that asks the question: at what point do we own the possibility of political action? I want to create the possibility that a woman, living under an occupied regime, came to a deep understanding of her selfhood, one that allowed her to drive forward a political agenda.” - Yael Farber |
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"With a stunning lyricism, South African director Yael Farber applies her formidable imaginative talents to a well-traveled biblical story and propels it on a revelatory new path."
The Washington Post
"an intriguing, provocative production that is meant to instigate reactions. It is a consummate part of the Women’s Voices Theater Festival."
DC Metro Theater Arts
"Salomé is a magnificent, hypnotic, and quite magical work."
DC Theatre Scene
"Gorgeous and Inventive"
DCist
"a visually stunning world premiere"
Broadway World
The Washington Post
"an intriguing, provocative production that is meant to instigate reactions. It is a consummate part of the Women’s Voices Theater Festival."
DC Metro Theater Arts
"Salomé is a magnificent, hypnotic, and quite magical work."
DC Theatre Scene
"Gorgeous and Inventive"
DCist
"a visually stunning world premiere"
Broadway World