By Ambar Madhok, Third Year English
There is no better way to be revived than with this phenomenal performance of ‘The House of Bernarda Alba.’
This is a play full of familial feuds and female expectation, with deception, love and desire at the forefront. Following the death of Bernarda’s dear husband, the matriarchal Bernarda (played by Meabh Brolly), rules that the appropriate way to mourn for her and her five daughters, is eight years of confinement within their house. However, tension arises through the daughters goading each other about the last remaining bachelor, Pepe El Romano, which ultimately results in tragedy.
It was clear how intently the directing team, Olly Francis and Gwyneth Williams, had thought about each detail, and was brilliantly actualised by producer Matilda Penfold. The mulch scattered on the stage set the eerie tone for the moment one walked into the theatre. Physical interaction with this soil occurred throughout the play, from the opening scene, where Antonio (James Hattan) grabs a fistful, whilst moving around Bernarda, as she soullessly stares towards the audience. This type of interaction is repeated later in the play, through some choreographed scenes with the sisters, and girls within the cast. The break from dialogue allows one to fully see the entrapment they feel emotionally play out, wherein the seizing and crawling through the dirt exemplifies the unnatural situation they are living in. These scenes had such a visceral air around and one could fully observe how tragic this lack of liberty was for the sisters.
Throughout, the play with lighting, and projection of shadows, such as that of Pepe’s looming figure in the background, added so much intensity to the performance. The use of foreshadowing with these shadows, predicating the secret relationship between Adela (Hattie Parkinson) and Pepe acted as a sour reminder of the deceit ruling the play. Moreover, they presented the potentiality of freedom that Adela so desperately yearned for with her being the only sister to actively be seen behind the screen. A key scene with the use of shadows was directly before the interval the play, wherein Pepe’s shadow was reduced to a more human size, with Adela reaching out for his hand on the other side, acting as a dark forewarning of the tragedy to occur.
The unnerving cello interjections, excellently played by Hattan, (composed by both Hattan and Francis) fuelled the intensity throughout the play. The dissonance of chords propelled the building direness of the play.
The cast were all fabulous in their performance, wherein misery and a hopelessness was consistently communicated towards the audience. Notably, Meabh Brolly as Bernarda delivered such an unnerving performance within her ruthless role. Her rigidity to put aside qualms about her reputation and dismiss Poncia’s (Alex Fenn-Smith) concerns regarding her control and stake of her daughters made the ending even more devastating. Moreover, the building friction between sisters, particularly Adela and Martirio (Tilly Wade) was excellently portrayed; both conveyed the desperation that came as a result of their young age and confinement.
Daisy Guilor
Overall, the play was excellently produced and proved to be a fabulous revitalisation of InterAct theatre company. It was a brilliant rendition, albeit an unsettling play, which marvellously showcased the diverse range of talents within the theatre department.
Their upcoming production of ‘Macbeth’ will run in February 2026 and it will definitely not be one to miss!
Featured image: InterAct / Beth Griffiths
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