Written by Federico Garcia Lorca – Adapted by Karen Vickery, assisted by Andrea Garcia
Directed by Karen Vickery – Stage design by Marc Hetu
Costume design by Fiona Leach - Sound Design by Neville Pye
Lighting Design by Disa Swifte- Music composed by Michael
Huxley
Presented by Chaika Theatre - ACT HUB to 29th
March 2025
Opening night performance on 19th March reviewed
by BILL STEPHENS
Written in 1936, just two months before his assignation in
the Spanish Civil War, Federico Garcia Lorca’s play The House of Bernada
Alba, exploring the effects of deprivation of female liberty, is regarded
as a classic which has inspired countless productions, including an opera, a
musical and even a ballet by Eleo Pomare with music by John Coltrane.
For her adaptation with Andrea Garcia, Karen Vickery has
demystified the play by devising an audience-friendly version abandoning any
attempts at faux Spanish, and having her actors deliver the dialogue in
naturalistic English.
An interesting effect of this was that, while each of her
all-female, multi-national cast give strong, thoughtful performances, it was
when those who spoke in their natural European-inflected accents that her production felt at its most
authentic.
 |
| Christina Falsone (Poncia) - Zsuzsi Soboslay (Bernada) in "The House of Bernda Alba" |
Zsuzsi Soboslay offered a powerful, mannered performance as the dominant matriarch, Bernada, who mercilessly wields her power over her five unmarried daughters, demanding that they enter eight years of mourning following the death of her second husband.
The eldest, Augustias (Sophie Benassi) the daughter of
Bernada’s first marriage appears to accept this restriction even though she is
betrothed to Pepe el Romano, a character at the centre of the play who is much discussed
but never seen.
 |
| Amy Kowalczuk (Magdalena) - Maxine Beaumont (Amelia) - Zsuzi Soboslay (Bernada) in "The House of Bernarda Alba" |
Magdalena, (Amy Kowalczuk in a sensitively nuanced performance) appears to accept Bernada’s restriction as does Amelia (Maxine Beaumont). But Martirio (Yanina Clifton) whose suitor was rejected by Bernarda, and who now secretly harbours feelings for Pepe, despite his betrothal to Augustina, struggles with the restriction.
But it is the youngest of the daughters, the feisty,
rebellious Adela (spectacularly interpreted by Karina Hudson) who throws the
cat among the pigeons by entering into an intense sexual affair with the
accommodating Pepe el Romano setting off a series of confrontations.
Brief but effective cameos by Alice Ferguson as Maria
Josepha, the grandmother on the verge of dementia, and Andrea Garcia as the
nosy neighbour, Prudencia, add spice to the proceedings, and although Bernada’s
housekeeper, Poncia (Christina Falsone), constantly challenges her tight control
over her daughters, it is the gossipy maid, Lucia (Diana Caban Velez) who unwittingly
lights the fuse that leads to the explosive climax of the play.
Performed in the round, on a bare raised stage decorated
with a few essential pieces of furniture representing the courtyard in which
all the action takes place, the task of creating the oppressive atmosphere required
by the play, was very much reliant on the talents of her actors.
Although deprived of anywhere to hide, the actors were greatly
assisted by Fiona Leach’s restrained, appropriate costumes, the excellent sound
design by Neville Pye, and atmospheric lighting design by Disa Swifte.
It says much for the ability of her actors, and the strength
of Vickery’s direction, that the intent and power of the play is so powerfully
realised in another challenging, satisfying production by Chaika Theatre.
Photos by Jane Duong
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com
