The House of Bernarda Alba

~~Written for an all female cast, with  themes of equality, both sexual and social, freedom and justice within Spanish society, set during a male dominated period, in the ‘30’s, when civil war is about to erupt. Matriarch, draconian Bernarda imposes a long mourning period after the death of her second husband. She fiercely dominates her five daughters. The eldest Angustias, 40ish, not particularly attractive, sickly but wealthy from her Father’s inheritance, down to the rebellious, passionate  Adela 20, the youngest who defies orders, dressing in green. Jealousy prevails when Angustias announces her engagement to a younger attractive suitor Pepe. Adela has a secret affair with him, becomes volatile and quarrelsome particularly with Martirio, who also has deep feelings for Pepe. After firing a shotgun at Pepe, Bernarda implies he is dead.  Adela locks herself away. Screams are heard - Adela has hung herself, not realising Pepe is still alive. Lighter interludes come through with appearances from opening by the scrubbing servant with asides, long suffering housekeeper Poncia, and Grandmother Maria Josefa who announces she wants to be married and have a baby!  Preoccupied with family reputation Bernarda insists Adela has died a virgin, demanding this be known to the village and that nobody is to cry.
Superb scenery design by Karen, transformed by Peter Huxley and his construction team – we were immediately inside a typical whitewashed Spanish villa, detailed down to the tiled flooring.  Very good props provided. John Sewell controller of Lighting and Sound gave the impression of immense heat with brilliant sunshine of daylight contrasting to later hours and when either the front door or shutters opened. Realistic sound effects – atmospheric bell tolling, men singing on their way to the fields, a gunshot, and a rather powerful horse, perhaps a little loud! Against the stark whiteness, simple, neat black mourning frocks looked most effective as the procession moved through the hall. Good use of typical Spanish lace, fans and perfect shoes.  Contrasting was Adela’s green frock, representing jealousy also sexual desire.  Hair styles were well designed and it was interesting to see that the eldest’s colouring was slightly different, setting her apart. Karen was challenged by this powerful play and worked hard to put over a thought provoking, very wordy script and achieved her goal.  Gillian Davis gave an outstanding, controlled strong - verbally and facially, Bernarda, wielding her walking stick which was eventually broken. Good central shaped grouping with natural movement. Kay Fitzgerald played the Servant, addressed the audience whilst scrubbing vigorously - a lovely active character that somehow seemed, even having less than most, more content with her lot, beautifully changing into the character a rather shy, insecure mourner Prudencia. Jane Barton played the eldest never been kissed Augustias, innocent, not realising her love was not returned.  Fiona Murch conveyed Magdalena’s frustration clearly but showed her fondness towards her younger sisters. Rebecca James was Amelia, a more naïve, sweet character as the middle sister, with Natalie Cheese as Martirio carrying her deformity throughout, ready to explode, and lastly Charlotte Maughan Jones giving an active performance of youngest, flighty Adela defying all, slightly deranged, passionate with eventual suicide. Heather Leslie had the ‘watching from a long way off’ beautifully controlled relating to both family and the outside world as loyal housekeeper Poncia.  Arthur Rochester was present to adjudicate this well executed play for the KDA Full Play Festival 2015.
 

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