Though perhaps initially daunting to the average English-speaking college student, GALA Hispanic Theatre's production of the Spanish play, "Blood Wedding/Bodas de Sangre" - subtitled in English - is worth the minimal confusion caused by the foreign language.
The play, which Federico García Lorca wrote in Spain in the 1930s, is about a young bride-to-be who runs away with an ex-lover. García Lorca makes significant statements about the individual's desires versus society's morals, violence and the institution of marriage in the simple plot, presenting themes crucial to the volatile time period in which he wrote, but also applicable to society's struggles today.
Director Hugo Medrano's goal for the play seemed to be to both respect the culture of southern Spain in the 1930s and to pay homage to Lorca, who died in a firing squad in the years leading up to the Spanish Civil War.
To achieve this goal, Medrano specifically included contributions from all facets of the performing arts. His decisions to insert a Flamenco dancer and add vocal music for portions of the script might seem awkward to an American audience that doesn't come from a background where all the arts are celebrated as one, but they only distract for a moment before the appreciation of another culture is discovered.
Medrano also faced a challenge in staging the play, which takes place in several different indoor and outdoor locations and also travels into the realm of fantasy. Two stone walls and a stone-tiled floor compose the simple, elegant set, relying on actors to shift chairs and tables to demonstrate a new setting. A large screen upstage allows for colors to create a mood to accompany the scene, providing welcome washes of intense pigment that contrast with the mostly neutral colors of the set and costumes.
But the simple design keeps the audience's attention on the story and the actors. Madre/Mother, played by GALA veteran María Victoria Peña, commanded the stage with her performance. This role showcased her versatility, as she moved from sadness to anger while still finding nuances in her emotions so it never felt contrived. Few other actors matched her depth of character, though Karen Morales-Chacana and Frank Vélez Rodríguez - Bride/Novia and Groom/Novio respectively -eventually found a connection to the emotion of their roles and Mel Rocher as the Bride's Father/Padre de Novia created an amusing foil to the grounded Mother. The numerous ensemble members occasionally over-dramatized their lines but created an energetic community for the primary action.
Minor technical difficulties marred the performance. The subtitles sporadically lagged behind the actors speaking on stage, but the performance was primarily free of problems. The courteous theatre staff welcomed patrons and thanked the audience in both Spanish and English numerous times for coming. With a performance time of less than two hours, "Blood Wedding" is a well-designed, intense play full of discussion and an intriguing look into another culture.
"Blood Wedding/Bodas de Sangre" plays at the GALA Hispanic Theatre from April 3- April 27 Thursday through Sunday. Discounted student tickets are available for all performances. For more information, visit www.galatheatre.org.
