Review: THE HOUSE OF BERNARDA ALBA, National Theatre
Photo credit: Marc Brenner
The House of Bernarda Alba unfolds on the Lyttelton Theatre stage, revealing a stunning, monotone dollhouse. The play creates an almost immersive experience, providing the audience with a constant glimpse into the characters' lives. The characters living onstage in their rooms even when they are technically “off stage”, echoing Federico Garcia Lorca's desire for realism, effectively conveying the struggles of the women with a surrealism twist.
Under the tyrannical rule of Bernarda Alba (Harriet Walter), five daughters, an elderly mother Maria Josefa (Eileen Nicholas), house keeper Poncia (Thusitha Jayasundera) and a maid (Bryony Hannah) live in this scrutinised household. The narrative unfolds as we delve into the daughters’ obsessions with Pepe Romano (James McHugh), engaged to the eldest daughter Angustias (Rosalind Eleazar) but dangerously playing with fire, crossing boundaries with the younger daughters.
Designed by Merle Hensel, the set’s three storey structure gives the audience a chance to peer into the lives of nine women, bathed in a minty or clinical green hue. The half-see-through walls metaphorically emphasise the lack of privacy in this confined space, transforming the house into a metaphorical prison for the women residing within.
Director Rebecca Frecknall, known for bringing new angles to revisioned plays, took on the challenge of revising the adapted version of the most staged play in the Lorca’s rural trilogy. Working with playwright Alice Birch, the master of rhythmic lines, they shift the focus onto the daughters rather than the tyrannical mother. Birch, doing what she does best, plays with multiple character speaking at the same time, bringing this piece a new contemporary life. The bold turn towards surrealism, evident in physical movement pieces at the end of Act I, introduces an undercurrent of societal tension.
Walter's performance exudes strength and precision, her stone-cold presence casting a shadow over the vitality of the other women. Her meticulous relationship with her daughters and mother leaves the audience wondering about her back story. Jayasundera, portraying Poncia the housekeeper, is an absolute gem. Her engaging, humorous and grounded performance brings freedom to the tension, providing an outsider's perspective into this chaotic house. Hainsworth has an electric energy, embodying the vivid vitality of the youngest daughter Adela. Pepe Romano (James McHugh), who is usually never seen on stage, makes his presence in this revival through majestic physical movements, embracing the abstract surrealist approach.
While the play explores oppression and sexual tension within the house, the constant tears on stage, intended for emotional impact, may become tiresome for some and detract from the overall tension. Written in the context of a politically charged era in Spain, we don’t see much of the Spanish influence in this version. Though this creative decision brings the focus onto the relationships between the women, it increases the fraction and limitations translating the traditional female struggle to a modern audience.
The House of Bernarda Alba brings a surrealist take on Lorca’s masterpiece, offering a fresh lens on the themes of control, rebellion, and the yearning for freedom. Yet, the production struggles to strike a deep chord, leaving the audience emotionally engaged but not profoundly moved.
*** Three stars
Reviewed by: Diana Feng
The House of Bernarda Alba plays at the National Theatre until 6 January 2024, with further information here.