Blood Wedding at Southwark Playhouse

Blood Wedding at Southwark Playhouse

10 August, 2009
by: Gemma Bergomi

Director Poppy Burton-Morgan revamps Fedrico Garcia Lorca's Blood Wedding at the Southwark Playhouse, incorporating a story about the confusions of love with a healthy dose of gun/ knife crime: particularly affecting in the context of London's current crime problems. Blending the family feuds of Romeo and Juliet with the inner-city attitude of Kidulthood, this production's blend of past and present is largely succesful.

Judging from the title it's pretty obvious that not all goes well in Blood Wedding, but do not be fooled: this piece is far from being a simple take of bloodshed and murder. It depicts the lives of two feuding families, into one of which The Bride (Jade Anouka) intends to marry, having renounced a fiancee from the other family. As the passion between The Bride to her ex-lover resurfaces on her wedding day, old angers are stirred between the families and disaster ensues.

The first act excels in humour, drama and some quality audience participation: as you walk in you are handed nibbles, an order of service, and some of the male members of the cast (Tai Lawrence, Trevor Michael) perform music onstage. As the show goes on you are expected to sing and dance (well, attempt to do so). Although slightly embarrassing, this technique instantly immerses the audience in the drama, feeling a part of the wedding.

However, the most ingenious part of Blood Wedding is the interval. Once the Bride pulls a disappearing act, the characters break into panic, encouraging everyone to come and help them search for her. Unsure whether it was the interval or not, you are rushed out of the wedding reception, amidst whispers of 'Is this an interval?' Once all is made clear, one thing is abundantly clear: the people behind Blood Wedding sure know how to clear a room!

Moving away from the urgency of the first, the second act removes the jollity of the wedding and replaces it with a collection of jarring scenes, some surreal and others not. This disparity, not only between the first act and the second, but especially within the second act itself, alienates the audience – but in a good way: we are left to contemplate the wider effects of The Bride's abandonment.

The only aspect of Blood Wedding that is lacking is the absence of a final fight scene between the two lovers of The Bride. With such a vivid title, it's a let down when this conclusion isn't visualised, but The Mother (Naomi Wirthner) pulls the play along, giving it a much needed dramatic conclusion; thumping her chest and bursting into savage tears.

The fact that only women are left in the final scenes is a telling reflection of the realities of gun crime. As is variously pointed out, it is those who are left behind that are made to suffer the results, and the haunting last song, 'The Womens' Lament' sends chills.

Genuinely enjoyable theatre, Blood Wedding is well worth a peek, but please be aware: singing and dancing are obligatory!


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Gemma Bergomi