“You have already thrown me away”
Ted Hughes’ reworking of Blood Wedding first aired in 2008 and won awards that year. It was re-broadcast as part of Radio 3’s season covering Lorca’s Rural Trilogy – this play, Yerma and The House of Bernarda Alba. Productions of Lorca’s work often search for the elusive spirit of the duende, that magical ingredient that brings out the chills, and that is markedly present here due to Pauline Harris’ astute direction.
Rather than try and create a taste of Spain, Hughes and Harris focus on the rural, evoking the timeless spirit of folkloric traditions that transcends nations. So the tale of two feuding families, locked in a death spiral of conflict even as they celebrate a marriage that should be uniting their houses, could be anywhere, not just the Almerian mountains where Lorca set it, and a multitude of British accents thus don’t sound out of place. Continue reading “Radio review: Blood Wedding”
I do love me some actresses, and I always get a thrill when I hear the words ‘all-female cast’ so I was very much inclined to book for The House of Bernarda Alba at the National Theatre. A new version by David Hare has been commissioned of Lorca’s classic (I say classic, I’ve never read it…) which bemoaned the way in which women were treated at the time but hinted metaphorically at his own repressed homosexuality and the increasingly oppression that brought about Franco’s rule.
Set in 1930s Spain in a stunningly mounted (by Vicki Mortimer) palace of an Andalusian house, the Alba household is mourning the death of matriarch Bernarda’s husband but the actual feeling is one more akin to liberation as it turns out she relishes the chance to take control of the family, of her five unmarried daughters, and maintain the staunchly Catholic ethos of sexual repression despite the natural urges of her girls. Continue reading “Review: The House of Bernarda Alba, National Theatre”