The play is a modern classic.
Written by Federico García Lorca in the early 1930’s, it’s a foregrounding of the earthy elements of Life.
Set in rural Spain, the characters incessantly speak of bloodlines, family, violence, desire, land – and do so in extraordinarily high modality with little or no subtext. At other times, the script rises to symbolism, with characters who are personifications of inescapable aspects of the human condition. Think Death.
It’s a form that claims veracity because of its intensity, yet it also entertains a sentimental rock and roll sensibility. In some ways, Sam Shepherd is a more recent proponent of the genre. It’s a vision of Life that clearly resonates with some. And for those for whom it doesn’t resonate – the more airy of us, the more cerebral, or the more privileged – why else do we go to the theatre but to learn about the experience of others?
I should make clear the play does not celebrate brutality: the dangers of this ferocious earthiness are apparent. The Groom (Sam Walter) is marrying the Bride (Emilia Kriketos), but she still holds a candle for Leonardo (Denis Troncoso). My quaint choice of phrase belies the vehemence of everyone’s feelings. All three characters make decisions counter to sober reason. The Groom’s mother (Chloë Schwank) wears around her neck a crucifix; I suspect it’s an acknowledgement of universal suffering rather than salvation – there’s little light or grace in a world so heavy with blood.
Director Diana Paola Alvarado presents a bold theatrical vision. She elicits from the cast passionate, high-energy performances. Beautiful stylised movement and live music invite us into a provocative realm of exalted poetic force.
Paul Gilchrist
Blood Wedding by Federico García Lorca
at Flight Path Theatre until Aug 3
Image Signature Photography by Kirsty Semaan
Theatre Red 
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