A Mother (Maria Lima) tormented by the violent loss of her late husband can’t help but worrying about the fate of her Son (Federico Trujillo). Will she find peace?
Celebrated Spanish dramatist Federico García Lorca’s 1932 folk tragedy is adapted by George Richmond-Scott into this dark re-imagining.
Set in modern day London, this contemporary adaptation of passion and vendetta explosively blends grit, fate and claustrophobia, with a streak of dark humour. Especially the Mum’s very dry sense of humour, which manages to provoke laughs despite the dramatic turns of events. In fact, Maria Lima’s outstanding performance keeps the play flowing and alive.
Her Neighbour and friend (Camilla Mathias) adds great musical entertainment with her guitar-playing skills and solid interpretation, together with the Wife’s (Miztli Rose Neville) lovely singing.
The first act is a quite traditional dramatic experience. The second part is more experimental and metaphorical, but doesn’t always add consistency to the plot, with the addition of some obscure characters; one being the Moon, played by Yorgos Karamalegos in a very physical fashion, in which he is more convincing than in his other role as the Father.
The use of space is very imaginative, especially for the wedding banquet scene, and the sound and lighting add a great amount of quality to the play.
Even if the acting from the rest of the cast is a bit flat at times and doesn’t fully convey the passion that should transpire from Lorca’s script, Blood Wedding is a very enjoyable play, funny and well put together.
Blood Wedding is at Omnibus Theatre until 23 September
Review: Giancarlo Angelucci
Photos: Nick Arthur Daniel
