“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 

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