Salome by Oscar Wilde is being performed by the Invisible Theater Company, August 10-12, 17-19, 24-26 at 8 pm at the Threshhold Theater 791 Tremont Street, Boston, MA. Salome is not for the faint of heart nor for those individuals seeking a comic tale, however if you appreciate bohemia and a group of artists passionate about performing an intense piece, you will be moved by Salome. Oscar Wilde wrote Salome in French during the fall of 1891 and later he and his lover translated it into Old English. Wilde's text is richly poetic filled with vivid imagery but is obsessively repetitive and difficult for the inexperienced actor. The cast of Salome falls into two categories, those that struggle with Wilde's prose and those whom have a strong grasp and understanding of the language. Salome played by EJ Borrego falls under the latter and is entrancing as Princess Salome. Slithering between innocence and evil, Borrego, 'walks the walk and talks the talk'. Her sharp-witted tongue effortlessly expresses her professions of love and quips of insults. Her demeanor it that of a Princess in ennui and disgust of the incestuous advances of her mother's husband King Herod Antipas. Her exotic beauty is perfectly cast as the chase daughter of an icy Queen Herodias, and it is easy to see why "everyone is looking at" Salome. King Herod Antipas played by Ben Bacon is also skilled at illustrating Wilde's prose. Appropriately over-acting at moments, Bacon's performance depicts honestly the foibles of man, lust and greed. Herod's incestuous obsession of his wife's daughter/his niece, Salome, is what allows the destructive actions of the main characters to be set into motion. The audience is able to laugh with Herod and in the end is able to sympathize over the decision his hand is forced to make. Bacon was believable as the lecherous yet lovable King, who loved too much to look upon Salome. Catherine Carter Palfrey as Herodias, is appropriately casted as the cold disgusted Queen of a kingdom in disarray. Her husband is dead and now she is the wife of his brother Herod who is transfixed on her daughter Salome. Palfrey's facial expressions were pinched and drawn of a woman trapped in an unsettling environment. Herodias is sickened by Herod and is angered by the prophet's outcry defiling her good name. The approach Palfrey took in the delivery of her lines, made her performance a notable one despite the size of the role, do not be fooled, Herodias is essential to the plot. Salome for her own selfish reasons, delivers to her mother exactly what she wants, the tongue of the prophet silenced. Other note-worthy performances: Iokanaan-Kurt Wehman, The Cappadocian- Radhika Ramdev and Tigellinus-played at the last minute by the director Erin Kissane, all stepped up and put their best foot forward. The enthusiasm of the cast as a whole was applauded by this critic though it was apparent not all the actors were skilled in technique. I would have to comment that how is one to improve, unless they are given a stage or class to build upon their fundamentals. So I like to see newcomers to the stage and will not fault them for their inexperience. The GOOD The show began with a dance foreshadowing the play about to begin, the director adorned the characters in masks which added a spooky detached element. A convention, the ghost appreciates. The costumes were basic chiton sheaths but worked well in a variety of colors and were adorned with accessories. The lighting is minimal but effective, as are the skillfully painted set pieces. The theatre seats 40 people maximum on a good night, so it is an intimate setting and the stage is arranged in a three-quarter thrust. The group does well to work within the space limitations provided them and the show they have chosen also plays well in this venue. Sidebar, I love this group's name, "The Invisible Theater Company", I see a theme forming, as a "ghost" I appreciate the invisible. The NOT SO GOOD The seats are uncomfortable folding chairs on platforms that are not easy to climb upon. Not a friendly set-up for older guests nor does it accommodate special needs. The show ran just a little over two hours with no intermission. The house opened 5 minutes past to allow the audience to take their seats, there is no waiting area for the patrons, so the hallway crowded up quickly and was uncomfortable. As I mentioned earlier only the main characters mastered the delivery of Wilde's verse, more time could have been spent those less skilled so that they understood what was being said and how to deliver it effectively. The techno-funk music that seemed specially created for Salome's dance was of a poor quality and seems too long and mismatched for the choreography presented. The audience had to be prompted to applaud at the end, this may be due to the intense subject matter of the play or from the end not coming to an apparent close. Bows were a sloppy finish, there was no apparent pre-planning in this area.