Here is the first of our soon to be regular reviews!
Blood Wedding, directed by Emily Morrison, produced by Louie Corpe, is a must see for anyone worried about the growing rise of knife-crime. The backcountry of Andalusia could not be further from the sprawling metropolis of London, yet the sentiment is a perfect-match.
The assertive dialogue, anguish and complete sense of injustice from the mother of the bridegroom, Rachel Knight, sets up the plays dark undertones and incessantness of small town mentalities beautifully.
Sam Brearley portrayal of a love-sick bridegroom was magnificent and Hannah Van-Den-Brul, the bride, excellently portrayed a woman torn between her head and her heart.
Mbugah’s encapsulation of Leonardo’s fully fledged anger and loathing towards his wife, Katherine Drury, and mother-in-law, Beth Eyre, is superb, to the point of almost being uncomfortable.
Certain elements of theatrical repertoire worked to excellent aplomb in this production, especially the stage setting, lighting and performances in the woods. The same cannot be said for the whole long drawn out nursery rhyme at the beginning of the show. Good knowledge of Lorca’s work may make this more symbolic, otherwise it just creates confusion. Another criticism was the slight confusion of the role of the maid, Dominique Pelides, who appeared to close and familiar with her employers to represent a mere maid. However, these did not blight an overall good solid performance.
The darkness of the plays theme was superbly brought into line with excellent small and subtle gestures of comedic genius providing the audience with small outbursts of pure laughter, thus making an evening of fine entertainment. Arrash Rizi, playing the father-of-the-bride, used an accomplished Irish brogue accent to great effect.