PicksInSix Review: Salome - Lyric Opera of Chicago

“A Dark and Enthralling Operatic Experience”
PicksInSix® Review | Guest Contributor | Kaitlyn Linsner

Richard Strauss’s “Salome” premiered in Chicago in 1910 and caused such uproar that after two performances, the opera was moved to Milwaukee. Soprano Mary Garden starred in the title role with a portrayal of the unsettling teenage princess that the president of the Chicago Law and Order League called “disgusting” in a letter to the Chief of Police. What a scandalous and iconic debut.

Now, after a twenty-year absence, “Salome” returns to the Lyric Opera of Chicago as provocative as ever. This North American premiere of Sir David McVicar’s production, directed by Julia Burbach, examines greed, lust, delusion, and obsession against a brutalist, raw concrete backdrop in 1930s fascist Italy. This production also marks my very first experience at the opera. What a thrilling and delightfully gory introduction to the art form.

Based on Oscar Wilde’s one-act play, “Salome” beautifully captures a dark world of limitless power and entitlement. Salome (Jennifer Holloway) leaves a lavish dinner party to escape the lustful and predatory gaze of her stepfather Herod (Alex Boyer). She then discovers the mesmerizing voice of Jochanaan (Nicholas Brownlee) imprisoned below the basement and demands to see him. Salome convinces Narraboth (Ryan Capozzo), a man utterly infatuated with her, to release the prophet momentarily so she can promptly appease her fascinations. Feelings escalate for Salome, and she quickly descends into a ravenous obsession with Jochanaan which drives an unrelenting pursuit of his adoration and affection. Jochanaan, however, denies every single one of her advances. He remains steadfast in his repulsion, curses Salome, curses her mother, and then returns to the prison.

Following this haunting display, and brilliant vocal performance, of Salome’s desperation and the prophet’s rejection, Herod, Salome’s mother Herodias (Tanja Ariane Baumgartner) and the dinner guests enter the basement for more madness. Jochanaan continues his misogynistic railing against Herodias from the cistern. Dinner guests argue over theology. The powerful orchestra under Tomáš Netopil delivers drama and extravagance. Herod remains fixated on Salome and promises her anything she wants if she dances for him. Despite her mother’s protests, Salome accepts the offer and the infamous “Dance of the Seven Veils” begins. In this staging, Salome performs the dance for her stepfather with hesitation. She struggles with the power she yields over Herod, and the brooding set design (Es Devlin and revival lighting design by Chris Maravich) creates an undertone of distress, not eroticism. As they move through the changing environments, we too experience her inner turmoil, and for those who chose not to read the synopsis beforehand like myself, we wonder which of Salome’s desires pushes her to undergo such deep and twisted pain.

Is it love? Surely love cannot be what drives Salome to demand the prophet’s head on a silver platter in exchange for her dance. But what is love in a palace of egomania? To have? To hold? Herod offers Salome jewels, royalty, land, anything else, and yet, all Salome wants is the head of a man who denied her—the “scarlet viper” tongue that “spat its venom” upon her. She gets his head, of course, delivered by a naked executioner no less, and then begins a mesmerizing near 17-minute monologue completely detached from reality. Covered in his blood, she lays with Jochanaan’s head, toggling between boasting about how she can kiss him now and lamenting over how he still will not return her gaze. Holloway’s commanding, all-consuming performance and the shocking conclusion left me stunned in the best way.

Between the dark story, history, powerful vocalists, cold and jarring staging, and dramatic score, I have not seen anything quite like “Salome.” The production works well as an introduction to opera while also showcasing the high-level vocal artistry, raw emotion, beautiful music, and an epic set design that I am told veteran opera-goers love. I feel compelled to express my gratitude to the Lyric, the production team, and the company for this memorable experience. Brava! Bravo! Well done!

GUEST CONTRIBUTOR | KAITLYN LINSNER serves as an Assistant Attorney General in the Public Utilities Bureau of the Office of the Illinois Attorney General.

PHOTO CREDIT
Kyle Flubacker
Andrew Cioffi

Lyric Opera of Chicago
presents
Salome
20 North Wacker Drive
through February 14, 2026

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PicksInSix Review: The Matchbox Magic Flute - Goodman Theatre

Reduced Retelling with Epically Goofy Grandeur!
PicksInSix® Review | Guest Contributor | Scott Gryder

The star-swirled proscenium of the Goodman’s Owen Theatre playfully invoked the essence of a childhood bedroom, ripe with stories to be told, creating the perfect backdrop for the opening night/world premiere performance of Mary Zimmerman’s “The Matchbox Magic Flute.” A spirited reworking of a centuries-old tale, this playful mini-rendition is the perfect introduction to the piece and the artform of classical storytelling, while maintaining a respectful reverence for the opera’s origin.

“The Matchbox Magic Flute” follows the adventures and trials of Prince Tamino, your stock prince charming. Along the way, he makes a bird-brained friend, Papageno, and they are tasked with finding and rescuing the Queen of the Night's daughter, Pamina, who’s been captured by a sinister fiend. A completely family-friendly event, this production takes the original Singspiel source material of Mozart’s “The Magic Flute” and powders it with a more floral, playful Gilbert & Sullivan operetta flair.

In keeping with the original operatic style, “The Matchbox Magic Flute” weaves together a spellbinding storytelling through song, with very minimal moments of dialogue, and the star-studded cast commits full tilt. In a way, as the text has been thinned, the characterizations and their goals have been inflated. Of the trio of Ladies, reminiscent of the witchy sisters of Hocus Pocus, First Lady Lauren Molina truly captures the manic intensity of over-the-top subtext, while later naturally transforming into the frolicking and foul beloved Papagena. As Tamino, the always-handsome Billy Rude plays a dependable Prince. Although beautifully layered in vocal range, Rude lacks a solid singing line in comparison to the rest of the cast. Speaking of, watch out, Maria Callas! The fierce, fiery vocals of Emily Rohm’s Queen of the Night truly strike fear in all hearts who share her stage! Even her dress flows with a magma-like rage as her vocal acrobatics sear. And, like mother, like daughter, Marlene Fernandez’s Pamina warbles a range of deep richness, while also enchanting with a soaring soprano. Pair Fernandez with the clownish Papageno of Shawn Pfautsch, part Piglet/part Tigger, and their schmaltzy repartee is endearing and amusing. Most vocally soothing is Keanon Kyles as Sarastro, whose basso profondo delivers chills and thrills.

Whether you’re a fan of the original story, or hardly familiar with it at all, you’ll be truly captivated by Chicago-favorite Mary Zimmerman’s adaptation and direction. Zimmerman is no stranger to this elevated artform, with a resume reaching all the way to the Metropolitan Opera. What she does with “The Matchbox Magic Flute” is combine her knack for musical theater timing with the grandeur strokes of opera, creating a youthful retelling. For the music, while lyrics sometimes edge more toward basic rather than inventive, music adaptors and arrangers Amanda Dehnert and Andre Pluess refreshingly revive these original melodies, succinctly capturing the frothy character motivations.

The more petite venue of the Owen Theatre helps to capture the matchbox concept of the show, further instilling the image that “The Matchbox Magic Flute” could be boxed up and set on wheels to travel from town to town, with a Jack in the Box ease. Even the dual role casting throughout emphasizes the traveling troupe aesthetic. Set designer Todd Rosenthal leans into the collapsible concept with tracked, sliding flats and effortlessly spun walls, painted pastorally and with brocade patterns. And what a delightful concept to have the orchestra in a raised pit at the foot of the stage, bringing the musicians into the action, sometimes literally, within arm’s reach of the vaudeville style stage.

The production elements of “The Matchbox Magic Flute” are so cleanly executed, it’s as if you could simply close the door on the Owen, latch it securely and then carry this marvelous musical moment onto another venue entirely; opening it like a music box to reveal the same darling show on the move. For patrons who don’t fancy themselves operagoers, or for anyone wishing to dabble in the genre, “The Matchbox Magic Flute” satisfies. The sure sign of a winning musical experience is when the melodies linger in your ear as you leave. And how could these tuneful masterpieces not, especially when so daringly and darlingly delivered? Bravi tutti!  

GUEST CONTRIBUTOR | SCOTT GRYDER received a Non-Equity Jeff Award for his performance in the one-man show BUYER & CELLAR. www.thescottgryder.com

PHOTO|Liz Lauren

Goodman Theatre
presents
The Matchbox Magic Flute
Adapted and Directed By Mary Zimmerman
EXTENDED
through March 24, 2024

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