Review:The House of Bernarda Alba

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POSTED: 23 OCTOBER 2009

The House of Bernarda Alba, by Federico Garcia Lorca

(Genesian Theatre | Kent Street, Sydney | Until 14 October)

A friend of mine used to have one of those cutesy plaques on her kitchen wall that read: “If Mama ain’t happy ain’t nobody happy.” This could be the family motto for the Alba clan, headed by matriarch and truly scary lady Bernarda Alba.

Five daughters, ranging in age by nearly 20 years, are dominated by their tyrannical mother, who imposes on them a strict moral code borne of her intense Catholicism. The youngest four, Adela (Marisa-Clare Berzins), Amelia (Natalie Lund), Martirio (Kaziah Kaspar) and Magdalena (Kim Wellard) are born of a different father to the eldest, Angustias (Kate Hall). Her father died many years earlier, leaving her the beneficiary of a considerable fortune.

As the story opens, we see the women attending the funeral of the younger girls’ father. It is searingly hot, but if only it were just the weather that was oppressive. Alba — played in perfectly diabolical fashion by Jenny Jacobs — decrees eight (yes, eight!!) years of mourning.

The women, sexually frustrated and yearning for romance, expend their energy in triviality, squabbles, and jealousies. One of the few young men that Alba consents is good enough to marry into her family is set to wed Angustias. However, the youngest daughter, Adela is also in love with this man and contrives to continue a relationship with him in secret.

But nothing stays secret in a house of bored, lonely women. Soon all the sisters are engaged in battle. The all-seeing housekeeper Poncia (Ros Richards) and maid (Libby Daniewska) enter into the drama. Alba’s mother (Golda Baker) plaintively cries out from her room, where she is confined under Alba’s orders. It seems inevitable that under such pressure, tragedy ensues.

Based on Federico Garcia Lorca’s observations of a neighbouring family, in which a domineering mother intimidated and suppressed her children, The House of Bernarda Alba was his last play before being killed and thrown into a mass unmarked grave by Nationalist sympathisers at the outbreak of the Spanish Civil War.

Alba’s oppression of her daughters mirrors that of the fascist regime of Lorca’s time. Alba enforces her will in a totalitarian manner. Her stance is as black-and-white as the clothes the women wear. Only Adela defies the black of mourning for a green dress ... the colour of jealousy.

Lorca’s intensive writing and perceptive view of humanity elevates this bleak reality tale into prosaic and moving drama. Director Barry Nielsen has elicited fine performances from this all-female cast (for the much-desired young man is only spoken of), most notably Jacobs and Richards. Their verbal skirmishes crackle with energy and unspoken hostility.

Michael Schell’s lighting and sound design — especially the fantastic original flamenco guitar pieces — complement the drama extremely well. It’s a shame that some audience members seemed under the impression that this was a comedy! While there are undoubtedly some amusing parts, on the night I attended the climax was somewhat undercut by the guffaws from the audience. Read the program, people ... it’s a tragedy!

The House of Bernarda Alba continues the admirable standard of amateur theatre that the Genesian produces.

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