Matadors and Madonnas star in this gender-bent re-imagining of Oscar Wilde’s cult Biblical tale about religion, sexuality and the desire to be different. Hold onto your head.

Photos by Sarah Walker

30 Aug – 14 Sept, Tower Theatre, Malthouse

Two young men are alone in a palace; one is in love with the Princess Salomé, the other in love with his friend. But when Salomé arrives, she only has eyes for John the Baptist, a prophet who warns all deviants that the saviour Jesus Christ is on His way. Compelled by his abstinence and pious will, Salomé stops at nothing to have him (in the biblical sense). As the moon grows brighter, erotic energy takes over the royal court and the lines between civility and desire are blurred through violent dances for power, melodrama, and the gruesome severing of one very famous saint’s head.

With an 80s New Wave soundtrack and gender-bending cast inspired by the drag balls of Paris is Burning, Little Ones Theatre’s  Salomé promises a bold and risqué theatrical event with the potential for cultish fascination and more than enough eroticism to get you hot under the collar.



Little Ones Theatre and Malthouse Theatre present
By Oscar Wilde

Directed by Stephen Nicolazzo
Performed by Paul Blenheim, Genevieve Giuffre, Alexandra Aldrich, Nick Pelomis, Peter Paltos, Zoe Boesen, Tom Dent
Set Design Eugyeene Teh
Costume Design Tessa Leigh Wolffenbuttel Pitt and Eugyeene Teh
Lighting Design  Katie Sfetkidis
Sound Design Nate Edmondson
Dramaturgy/Adaptation Natalia Savvides
Choreography Kurt Phelan
Stage Manager Rebecca Poulter
Photography Sarah Walker

November Happenings

I have been very busy in November, with two shows opening. Maybe We’re Never Together for Big West Festival and Collect, choreographed by Shelley Lasica which I co-designed with Rose Connors Dance.

A devised work by Kate Hunter and Emilie Collyer, Maybe We’re Never Together, was a chance to continue my exploration of creating simple clear design that can help shape this work that oscialted between the real life and the surreal.

Collect was the first dance work, I have designed since graduating from VCA and I really enjoyed working on it. Working with the space full of natural light, the subtle lighting design was an improvisation that responded to the spaces and the dancers and was operated from 6 different points around the space. Creating an improvised design that can directly respond to the each performance is something that I have been exploring in my La Mama Explorations earlier this year and it was interesting to add a physical element to the operation of the lights.

Through this mode of the operation I was able to create a heightened awareness of the role of lighting as element in the space; both for my self as the operator and for the audience. At times I was very self conscious about being seen and moving around behind the audience, this in turn affected the design during each performance. I think for the audience however, rather then being an annoyance, this form of operation has the potential to included the making of lighting within the dance. It adds a human element to the making of a design that can respond to the work in a way a programed design can’t. I’m not sure I fully got over my shyness of being so exposed but I did have quite lot of fun doing it and it is something I am looking forward to exploring further in 2012.