A Review of Full Moon Theatre’s Blood Wedding

Lorca’s tale of bloodshed and betrayal is one of the less familiar plays that has graced the Oxford Playhouse stage recently. A student production which brings a large ensemble cast of new faces into the city’s performance sphere, this was an exciting new prospect to witness unfold. Blending Spanish folklore and culture with an English translation of the text, the play seeks to do something new with this classic text. Blood Wedding tells the story of a bride who, having agreed to marry one man, is torn due to thoughts of her previous love. At its core it is a story of love and community, but it is the themes of (and continued references to) blood which stand out.

Translated and directed by Emma Nihill Alcorta, this play seeks to blend the Spanish origins of Lorca’s classic with a contemporary English translation. As such, the play is laced with Spanish dialogue and singing, as well as traditional dances and dress. The decision to blend the two languages is aided by the use of surtitles, which can be spotted above the performers. While I appreciate the need for translations at times, I do wonder whether they are strictly necessary during the songs. These musical numbers (accompanied by an onstage orchestra and composed by Else Vass-de-Zomba) are wonderfully performed. A particularly memorable character is that of Rebekah Devlin’s Maid, whose beautiful vocals make for captivating musical moments. While the voices on display is one of the clear strengths of this performance, I’ do wonder whether’m inclined to say that there is a little too much priority placed upon the music. It is as though the production is teetering on the edge between musical and play, which begs the question as to whether the songs could have been shorter or less frequent.

With such a large cast, there is ample opportunity to display the community in which this story takes place. From the preset to the wedding there are many strong interactions between the ensemble as they bring this world to life, with one of the standout moments certainly being an interaction between the woodsmen at the beginning of the second half. There is a little confusion, however, when it comes to the importance of the moon and her dark companion who at times interact with the whole and at times are separate. It took me a little longer than I’d care to admit to identify exactly who they were and their roles within the larger tale.

The decision to translate a play for such a large theatre within the student sphere is undeniably a bold one which deserves some admiration. Unfortunately there are some moments within the play where one is inclined to argue that the translation needs a little more work. It’s a pity that the script itself falters at times, as I can’t help but wonder how the play may have been different with some structural edits. Overall, however, it is a play which clearly has a team of creatives with a strong vision behind it. The director’s intentions for the project are there to see, even if there is a lack of polish in the realisation.