Oscar Wilde - Salome

I've fallen behind in saying the things I want to say in this space. Part of the reason for my procrastination has been the production of my own collection of poetry, a small volume with a “cat” theme. I'll get to that later, but there are some things I want to mention before I forget them.



Back in November I went to see a presentation loosely based on Oscar Wilde's one act play Salome at the Pearl Company. It was subtitled a “Physical Theatre” adaptation and revolved around the interpretive dance numbers by Sergiy Shvydkyy, dancer and choreographer from the Ukraine. I personally found the production interesting but confusing and lacking.


The characters were caged in separate corners and performed almost no action; all the movement focused on Shvydkyy, the dancer. Any intercourse between Herod, Herodias, Salome and Jokanaan took place from separate corners of their world. They never seemed to interact, only provide a prelude to the next dance. With Wilde, one expects flowing and masterful language; what there was of it here was lost. When a character needed to proclaim, which seemed to be much of the time, he (or she) came across with what sounded like conversation. Conversation (as from one character to another) became lost in the shuffle. As well as the language, Wilde's moon imagery seemed so diluted as to be almost imperceptible. And for me, Wilde's language and imagery were the attraction. Dance as communication is not something I feel strongly about.


That's two strikes against it. What carried it through was the innovative approach. I do need to applaud that, and wish the producers and the Pearl Company well.

Poetry on Stage

Klyde Broox, as promised, returned to the Artword Artbar for his second monthly presentation of poetry on stage. He's still considering what to call it. "Poemagic" was the handle of the series he did at the Staircase; so far he is leaning toward a "soiree."

So, with some speechifying about what he expects and hopes for, he began to present some of his poems in dub style - spoken with appropriate gestures, voicing, posture and movement. Two had built in refrains which called out for audience participation, and participate the audience did: once in two parts, where he divided the room in half and had one side call out the first part of the refrain, followed by the response from the other half, and then all together on the last line. In another poem he divided the chorus into four parts to deliver one word statements (in full voice) and come together for the conclusion.

He invited me up. I presented two of my cat poems with voice and movement enhancements. (When the evening was finished, I watched one member of the audience talking about my performance to someone else; I could tell by the movements and facial expressions. A more honest compliment than common applause or even a thank you afterward.)

After a few more of his own poems, Klyde introduced a man he called "a certified Dub poet, certified by Durm-I" whose name I didn't catch but who had an intriguing story. At Hamilton's first Dub Festival (organized by Klyde) he was moved to explore performance poetry. He wrote one that he performed at a slam in Toronto, was seen by someone who wanted to use it for her show in Poland and perform it there. Her presentation was so well appreciated that he was invited to Poland and did a series of guest performances. His work and intensity held the room at the Artbar spellbound.

Klyde then finished with a few more, and by special request we all joined in on the old favourite, "Yank the Chain."

Although the audience wasn't as great in number this night, it was more than equal in spirit. It may take some time to become as much a part of the community as Poemagic was but it sure feels like it's on its way.