Audition Dates: 4th & 5th October 2025
Venue: Teatru Manoel
PRODUCTION OVERVIEW
SALOMÉ is a bold, physical, and emotionally charged reimagining of Oscar Wilde’s timeless play. Combining contemporary dance, physical theatre, and heightened text, this production explores themes of desire, power, gender, and the body. Directed with a daring, avant-garde approach, the work will demand commitment, intensity, and fearlessness from its performers.
Production: Teatru Manoel
Director: Adrian Buckle
Choreographer: Chakib Zidi
Sound Design: Albert Garzia
ROLES AVAILABLE
SALOMÉ – ANDROGYNOUS Male. Salome is the young and enigmatic princess of Judea, the stepdaughter of King Herod. She is a complex character—both alluring and destructive—who embodies themes of desire, power, and obsession. Fascinated by the imprisoned prophet Iokanaan (John the Baptist), she ultimately demands his head in a fatal act of vengeance and desire. Needs to move well and dance as well as be comfortable with FRONTAL NUDITY. Acting age: Late teens (18+) to early 20s. Must be fearless in performance, capable of embodying the extremes of the character’s emotional and psychological journey. Should be comfortable with the sensual and intense nature of the role, as well as with the poetic and symbolic elements of Wilde’s language.
The ROLE of SALOME can be played by anyone MALE Identifying but within the given age bracket.
IOKANAAN – Acting age mid-thirties to mid-forties. Iokanaan, or John the Baptist, is a fiery prophet imprisoned in Herod’s palace. He is a religious zealot, utterly devoted to his faith and righteousness, and vehemently condemns the corruption and decadence of Herod’s court—particularly Salome and Herodias. His words are poetic, biblical, and apocalyptic, carrying an intense sense of divine authority. He refuses Salome’s advances with unwavering moral conviction, which ultimately leads to his execution. Strong, imposing presence; preferably tall or well-built to command a sense of power and asceticism.
HEROD – Herod, the Tetrarch of Judea, is a superstitious, paranoid, and morally corrupt ruler. He is simultaneously fascinated and repulsed by his stepdaughter, Salome. He fears omens and prophecies, particularly those of Iokanaan (John the Baptist), yet he is also deeply indulgent in his own excesses. His character is often interpreted as decadent, lecherous, and weak-willed, dominated by his own desires and fears. Needs to have good comic sense and timing. But also needs to be threatening when required. Acting age 40+. Should be able to balance Wilde’s heightened, poetic language with a sense of realism. Must capture Herod’s mercurial nature—swinging between lust, fear, arrogance, and hysteria. Ability to portray the grotesque decadence of the role while maintaining an undercurrent of vulnerability. Experience with classical or heightened text preferred. Strong stage presence and ability to command attention even when displaying cowardice.
HERODIAS – A woman who is both arrogant and frustrated. Dominant. Herodias is the Queen of Judea, the wife of Herod Antipas, and the mother of Salome. She is proud, politically shrewd, and deeply resentful of John the Baptist (Iokanaan), who publicly condemns her marriage to Herod as unlawful. Herodias is a strong-willed, manipulative woman who challenges her husband’s superstitions and fears, but ultimately fails to prevent the tragic events that unfold. Acting age 40+. Ability to convey haughty disdain, anger, and political cunning. Strong command of poetic and heightened language. Expressive physicality to embody royal authority and underlying insecurity. Capability to interact dynamically with Herod, Salome, and Iokanaan in power-driven conflicts. Emotional depth to portray both her cold ruthlessness and desperation.
PAGE OF HERODIAS– The Page of Herodias is a minor but significant character in Salome. The Page serves in the court of Herod Antipas and Herodias, observing the unfolding drama with a keen sensitivity. They are often depicted as delicate, with an almost poetic soul. The Page has a strong emotional connection to the Young Syrian, whom they try to warn against looking at Salome, foreshadowing the tragic events to come. A love-sick character. Needs to have a good singing voice and be comfortable with queer situations. Acting age any. Should carry a certain grace and fluidity, possibly light on their feet. MALE actors preferred but not limited to them.
NAAMAN – Naaman is the executioner of King Herod, a silent but imposing presence in the play. Though he has no spoken lines, his actions carry immense weight, particularly in executing Iokanaan (John the Baptist) at Salome’s request. He is a symbol of power, duty, and the brutal reality of Herod’s court. Needs to be large and well built. Acting age any.
THE YOUNG SYRIAN – A soldier. The Young Syrian is a high-ranking guard, often depicted as a captain, who is deeply infatuated with Princess Salome. His admiration for her blinds him to the dangers of his obsession, leading to his tragic downfall. He is a poetic and romantic figure, embodying youthful passion, naivety, and the destructive power of unrequited love. Needs to have a Mediterranean look and be body beautiful. Later becomes the Angel of Death. Acting age late teens to mid twenties.
THE JEW – A cleric. Needs to be aged 50+. The Jew is one of the five debating Jews in Salome, engaged in frantic theological disputes. In our version, expect a modern, raw, and physical interpretation—possibly exaggerated and grotesque. The character’s neurotic energy, fast-paced speech, and exaggerated mannerisms contribute to the play’s tension and dark humour. May also double in ensemble roles or contribute to immersive, non-traditional staging. Strong, expressive voice; capable of heightened speech and rapid dialogue delivery. High energy, expressive physicality; adept at physical theatre techniques. Theatrical, almost absurdist; able to balance humour, hysteria, and philosophical debate.
THE CAPPADOCIAN – Male/Female. An Egyptian. Acting age any. The Cappadocian is a minor yet significant character in Salomé, representing an outsider’s perspective on the events unfolding in Herod’s court. In this adaptation, the character is often portrayed with heightened physicality, expressive delivery, and a contemporary edge, in keeping with the company’s bold, avant-garde style. The Cappadocian engages in the philosophical and theological discussions among the soldiers and courtiers, reflecting themes of power, faith, and spectacle. Strong command of language and rhythm. Ability to engage in ensemble work.
THE NAZARENE – Male/Female. Acting age 20+. A follower of the prophet Iokanaan (John the Baptist) and serves as a voice of prophecy and divine truth within the play. The character should exude both reverence and urgency. Must be able to communicate the weight of religious conviction, perhaps appearing as an outsider to the corrupt court of Herod. Ability to deliver Wilde’s language with clarity, rhythm, and gravitas. Capacity for intense stillness and controlled movement, as the character often serves as an observer and commentator. Ability to sing or chant.
4 DANCERS – Dance style: Strong grounding in contemporary dance and physical theatre techniques.
Improvisation skills: Ability to respond to direction quickly and adapt to last-minute Physicality: Excellent body awareness, strength, and stamina for emotionally and physically demanding choreography.
Stage presence: Ability to embody complex characters through movement, with precision and expressive depth.
Professionalism: Punctuality, focus, and a collaborative spirit in the rehearsal room.
Height requirements:
Male-identifying dancers: 1.75m – 1.88m (5’9” – 6’2”)
Female-identifying dancers: 1.65m – 1.75m (5’5” – 5’9”)
(Open to gender-fluid and non-binary performers who fall within these ranges or can partner effectively.)
INCLUSIVITY STATEMENT
This production welcomes applications from dancers of all genders, sexual orientations, body types, ethnicities, abilities, and lived experiences. We particularly encourage performers who are neurodivergent, disabled, or living with mental health conditions to audition. Your perspective, sensitivity, and individuality are valued as part of the creative process.
You do not need to be perfect — we are not looking for “flawless.” We are looking for you: your truth, your uniqueness, and your presence.
FOREIGN ARTISTS
We welcome foreign actors and dancers to audition. They can do so by sending a tape of the required readings or choreography. However, it is IMPORTANT to specify that FOREIGN ARTISTS need to be able to take care of their own lodging and traveling during rehearsals and performances.
HOW TO APPLY
Please send an email to Teatru Manoel on
aW5mbyB8IHRlYXRydW1hbm9lbCAhIG10, quoting in the subject of the email; Salomé Audition Call, specifying ROLE you wish to audition for and whether you would consider alternative roles by 30th September 2025 noon:
CV (including height, training, and performance credits)
Two recent photos (headshot and full body)
Links to your two video tasks (YouTube, Vimeo, or WeTransfer)
PRE-AUDITION TASKS FOR DANCERS
Instead of a standard showreel, please prepare and submit two short videos inspired by
movement tasks from Salomé.
Task 1 – The Forbidden Pull (Solo – 2–3 minutes)
“You are standing before the imprisoned prophet Iokanaan. Your body is pulled towards him by an overwhelming desire, yet your entire being resists it. The space around you is charged — every breath, every muscle trembles between attraction and refusal. Without words, show us this tension through your movement.”
Begin with stillness for at least 10 seconds before moving.
Include at least one explosive burst of movement followed by stillness.
Use floor, mid-level, and standing work.
No set music required (silence or minimal sound).
Wear simple, body-conscious rehearsal clothes (no costumes).
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Task 2 – The Unwanted Touch (Partnered – 1–2 minutes)
“You are face-to-face with someone you cannot escape — this person’s presence is both
magnetic and threatening. Every time they come closer, you must find new ways to evade or repel them without speaking. The air is thick with unspoken history.”
Work with a partner (professional or non-professional — focus is on your physical response).
The contact can be light, resisted, or abrupt, but never fully embraced.
Explore shifts between attraction, repulsion, and forced stillness.
Use the whole space — avoid staying in one spot.
No music required.
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