‘Bernarda Alba’

Press, 27 April 1984, Page 4

‘Bernarda Alba’

“The House of Bernarda Alba,” by Federico Garcia Lorca, directed by David Bridges for the Elmwood Players. April 25. Running time: 8 p.m. to 9.50 p.m. Reviewed by Gerrit Bahlman. Set in stratified, chauvinistic, rural Spain, “The House of Bernarda Alba” captures the inheritance of inquisitional passions. Not the lightest of pieces, it is set in the home of a stern, arrogant matriarch who dominates and suppresses her five daughters to such an extent that tragedy is foredoomed. Written to depict a strict community able to destroy young unmarried mothers, the script would not endear itself to aware womanhood with its implied message that the resolution of the frustrated female household’s problem lies with the introduction of males. Thankfully, this male reviewer was able to see other possible solutions. In tackling this produc-

tion, the Elmwood Players have bitten off more then they can chew. It requires extreme intensity from all performers to work. Failures of emotional commitment rapidly undermine the atmosphere which is essential. Faults in portraying bursts of passion and violence realistically fatally flaw the over-all intent. In illustrating this point, a feeble left-handed fend to a walking-stick blow to the right shoulder simply does not convince. In staging the play the company must be congratulated. It is a difficult script and some of the performances moved towards capturing the commitment needed.

Bernarda (Juliet Robinson) was given the haughty, insensitive stature required but lacked bite. Michele HarrodonGraham presented a skeletal, withdrawn, and wraithlike Augustias, as the elder sister whose dowry attracts the young man that leads

the other sisters into jealous bitterness.

Magdalena was given a strong cynical stage presence by Priscilla Clark. Patricia Minns, as Martirio, gave a poisonous, bitter performance that worked effectively with her use of a nasal voice pattern. The young passionate sister, seduced by the dowry hunter, was played by Carol Stevenson, while the last sister was played by Vicci Hales. Teresa Macintyre, the old retainer, added character but her hand gestures inappropriately dominated Bernarda. The insane and man-made grandmother, aged 80, was given life by Wendy Walker. The set and lighting provided an effective touch with a perspective depth that was innovative. Properties, described in the programme as junk and disorderly, were particularly attractive and a credit to the organisational strength of the theatre.