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She was “surrounded by a most pretentious scenic setting and bathed in every conceivable kind of gloomy light.”
“The rise of the curtain displays a scene of gloomy, ghostly interest in which passing clouds and lightning flashes spasmodically obscure the moon. In the midst of this elemental tumult Salome makes her appearance, a dejected, remorseful, desolate being some to an even more desolate spot to cast herself in a despairing effort of soul sacrifice at the feet of the monolith.”
She "presented an entirely new version of the dance of Salome by carrying her a step beyond the John the Baptist incident and picturing her remorse at the feet of the Monolith of Dead Faiths."
"Seldom has Broadway witnessed a more weird, wild, and ecstatic dance of abandonment that showed so little of the wanton. It was highly artistic in every way, and one gained only an idea of her great horror."
Source:
New York Public Library, Billy Rose Theatre Collection, La Sylphe Cli