Written in 1936, just two months before his assassination 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.
Zsuzsi Soboslay offered a powerful, mannered performance as the dominant matriarch, Bernarda, 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, Angustias (Sophie Benassi) the daughter of Bernarda’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.
Magdalena, (Amy Kowalczuk in a sensitively nuanced performance) appears to accept Bernarda’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 Josefa, the grandmother on the verge of dementia, and Andrea Garcia as the nosy neighbour, Prudencia, add spice to the proceedings, but although Bernarda’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.
The House of Bernarda Alba
ACT Hub at Causeway Hall, 14 Spinifex Street, Kingston (Canberra)
Performance: Wednesday 19 March 2025
Season continues to 29 March 2025
Information and Bookings: www.acthub.com.au
Image: The Cast of The House of Bernarda Alba – photo by Jane Duong
Review: Bill Stephens OAM