Insurgo’s decadent ‘Salome’ fits in at the Erotic Heritage Museum

R. Brusky

Got a Nail clipper handy? Insurgo stages Oscar Wilde’s “Salome.”

Molly O'Donnell

Friday, Sept. 3, 2010 | 3:58 p.m.

When producing a play with a story as familiar as that in Salome, execution takes on extra importance. The audience isn't there just to see the play — it's there to see your version of the play. With that in mind, first-time Insurgo director Dave Surratt's occasionally odd choices can be a bit easier to overlook.

While it might be unfair to blame the former City Life theater critic for things like costuming (flip-flops, Xena aesthetic), the eponymous character's valley-girl accent is ... an acquired taste. As the play progresses, however, Emily Lauren's Salome makes more sense. Oscar Wilde wrote her as a brat, so that means she'd probably be, like, a diminutive, hair-flipping teen today. Lauren also shows off her acting chops during a crazed interaction with a disembodied head.

Ironically, Natascha Negro's accent works wonders on Herodias, a part acted so naturally that character and actor are indistinguishable. Ultimately, though, John Beane's lustful and pernicious Herod outshines everyone, his comedic timing and obvious stage command serving as the anchor for the production.

While Wilde once said, "To be natural is to be obvious," Salome may be his exception. Those more familiar with his wry wit in The Importance of Being Earnest might be surprised at the sincerity of Salome. This largely takes the shape of lust and resulting madness, however, so it falls nicely under decadent purveyance. The Erotic Heritage Museum as theater also feels in keeping with decadence's sensual side, although, with space for fewer than 50 people in the crowd and 13 cast members, there's also little room for error.

— Originally published in Las Vegas Weekly