The House of Bernarda Alba

This play was new to me so I really hoped there would be a synopsis in the programme to give me some idea of what to expect, but no such luck. From reading the biogs though I could see there was a talented line-up, so I just sat back and waited for events to unfold. 

Bernarda Alba and her daughters are returning home from the funeral of her second husband.  Dressed in black, their heads covered in mantillas, the women process in slow and deliberate fashion in single file through the auditorium, before ascending the steps onto the stage, while a Spanish guitar is being played downstage left. This was certainly very atmospheric and did set the scene nicely. 

The set was quite simple and dominated by what appeared to be a very large lace tapestry on the back wall.  I was unsure at first if this was a wall hanging or a window covering, eventually deciding it was a wall hanging.

An excellent, beautifully controlled performance by Jane Smith as Bernarda, a women who never allows her emotions to come to the surface.  Her main aim in life appears to be to protect the reputation of her family at all costs.  To this end she tells her daughters there will be a long period of mourning during which they will not leave the house.

Eldest daughter Augustias, well played by Naomi Phillips is the child of Bernarda’s first marriage.  She has inherited from both her father and step-father, making her the wealthiest of the siblings and a good catch for Pepe el Romano, a young man from the village to whom she is engaged. We never see Pepe of course as the cast is made up entirely of women.

A lovely, lively portrayal by Sophie Meikle of youngest daughter Adela who just wants to have fun.  She escapes at night from her repressive home life to meet Pepe with whom she is having an affair. Later in the play she mistakenly believes Pepe has been killed and takes her own life.

Of the other daughters, Magdalena (Rebecca Segeth) seems to accept her lot in life while Martirio (Jennifer Burchett) confesses her love for Pepe.  Finally there is Amelia (Nikita Eve) who seems prepared to fall in with her mother’s wishes.

Also living in the house is Bernarda’s mother Maria Josefa.  Depicted as being senile and expressing a wish to get married and have a baby, she is usually kept locked in her room.  A good cameo performance by Sylvia Lanz.

La Poncia the housekeeper is the voice of reason throughout.  Loyal to her employer but not afraid to speak her mind, she tries to bring about a sense of normality.  She also acts as a confidante to Bernarda whom she has served for many years. Very well done to Claire Woodward on this excellent characterisation.

The society had responsibly posted a notice in the foyer saying the play involved a suicide. Even so, I found myself unprepared for it when the moment came, possibly because I had become engrossed in this beautifully acted production.

Very well done to all involved.

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