By Oscar Wilde
30 August- 14 September, 2013
Malthouse Theatre
Director: Stephen Nicolazzo
Dramaturgy/Adaptation: Natalia Savvides
Set Design: Eugyeene Teh
Costume Design: Tessa Leigh Wolfenbuttel Pitt and Eugyeene Teh
Lighting Design: Katie Sfetkidis
Sound Design: Nate Edmondson
Choreography: Kurt Phelan
Stage Manager: Harriet Gregory
Production Manager: Rebecca Poulter
Paul Blenheim, Alexandra Aldrich, Genevieve Giuffre, Zoe Boesen, Tom Dent, Peter Paltos, Nick Pelomis.
Presented by Malthouse Theatre as part of Helium.


Matadors and Madonnas starred in this gender-bent re-imagining of Oscar Wilde’s cult biblical tale about religion, sexuality and desire. Just hold onto your head.

Two young men are alone in a palace. One is in love with the Princess Salome, 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 was a bold and risqué theatrical event with the potential for cultish fascination and more than enough eroticism to get you hot under the collar.

Salome played to a sold out season and was critically acclaimed for its uproarious and demented take on Wilde’s classic tragedy.

★★★★ ”Demented, depraved and uproarious, under the leather glove of Stephen Nicolazzo, Little Ones Theatre has once again smeared its mark on the Melbourne stage.”
Rebecca Harkins-Cross, The Age

“Salome is glorious and hilarious and so damn smart that missing it isn’t an option.”
Anne Marie Peard, Aussie Theatre

“Stephen Nicolazzo is the master of zero-gravity theatre, where the intellectual and moral heft is cloaked in a queer aesthetic”
Chris Boyd, The Australian

“Camptastic. Tom of Finland-inspired costumes, great comic timing, genderfucking fun. Go see.”
Richard Watts, TRIPLE RRR

“Symbolism meets Tom of Finland & Alice Cooper. Wilde’s OTT language sings. High camp on a high.”
Alison Croggon