Theater review by Yani Perez
Federico García Lorca’s Bodas de Sangre (Blood Wedding) is a timeless tragedy that explores themes of love, fate, and societal expectations. The recent adaptation by First Maria Ensemble and Cambalache Theatre Company, titled Bodas de Blood, reimagines Lorca’s classic through a contemporary lens. Adapted and directed by Celeste Moratti, this production feels timely and deeply rooted in tradition.
The narrative centers on a young Bride who remains enamored with her past love despite being betrothed to the Bridegroom; their connection is unbreakable. Their forbidden love culminates in a dramatic elopement, leading to an inevitable confrontation and tragedy.
One of the unique features of Bodas de Blood is its use of Spanish and English. This bilingual approach highlights the growing presence of multilingual storytelling in contemporary theater. While the intention is for the production to be accessible to both English and Spanish-speaking audiences, there were moments when the shifts between languages briefly disrupted the rhythm of the performance. Another noteworthy aspect of this production is its diverse international cast, featuring performers from Argentina, Italy, Poland, Colombia, Venezuela, Armenia, the Netherlands, and the USA. This casting choice reinforces how Lorca’s themes resonate across cultures.
The minimalist set design by Raffaella Toni effectively evokes the play’s rural Spanish setting, allowing the audience to focus on the characters’ emotional journeys. The live musical accompaniment, featuring synthesizer, electronics, and percussion by composer Francesco Santalucia, adds a rich layer to the performance.
Bodas de Blood is a commendable effort to reintroduce Lorca’s poignant tale to modern audiences. Its exploration of unbridled passion, societal constraints, and the tragic consequence of defying fate continues to resonate today.
Bodas de Blood runs through February 16 at Teatro Circulo (64 East 4th Street). https://firstmaria.comhttps://firstmaria.com
Photo Credits: Jonathan Slaff.
