Review: BLOOD WEDDING, Chandler Studio Theatre
Strong design and a solid cast, but the passion never quite burns through.
Tanya Ronder’s adaptation of Federico García Lorca’s Blood Wedding follows the tragic love triangle between the Bride (Saffron Rae), the Groom (Jude Bain) and Leonarda (Rosie Mackay). When the Bride makes a dangerous choice on her wedding night, blood is shed as passion and honour collide in a world ruled by tradition and gossip. Ronder’s version adds a refreshing queer twist to the story, giving new depth to Lorca’s themes of desire and repression.
The production's constant shifts between naturalism and surrealism make it very challenging to pull off. Chantal Jarem's set and costumes are full of promise: an intimate space with the audience seated on three sides, the set filled with carefully-researched nods to Hispanic culture, and costumes that beautifully capture its colours and texture. The cast showcases some talented standouts - Teddy Robertson presents a delightfully boisterous Father, Rhia Louisa excels as the loyal Servant, Bilal Pashayev is an ethereal Moon and Farrah Abbassay is endearing as a mysterious embodiment of Death.
The piece has promise but struggles to hold constant attention. At just over two hours with no interval, it felt long. The story took time to draw me in - whilst some of the songs and surrealist moments felt dreamlike, others came across as confusing and disconnected. Instead of evoking symbolic surrealism, they sometimes broke the rhythm and emotional flow... leaving the play feeling distant rather than profound.
There are moments of striking beauty and atmosphere, but the production never quite bleeds the passion and symbolism that make Lorca’s work so beautifully haunting.
Blood Wedding was at the Chandler Studio Theatre until the 7 November.
Photo Credit: Jack Young
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