Bodas de Blood

I always enjoy the Teatro's when performed in New York City. In Teatro Circulo's "Bodas de Blood" (Blood Wedding), it is not only the story, the acting that makes this show a winner, it is also the music!

Under the direction (adaptation also) by Celeste Moratti, the actors under a very economical stage move about and capture the show's rhythm, pulse and soul of the writing. With just the basics of staging, the show locks in the audience right at the beginning. The company's dance, singing and movements are exquisite.

Taking place in rural Italy, Mother (Eric Alexander) has lost her husband, son to the evils of the world. Left with one son, it is only family that matters to her. In a brilliant casting move, Alexander, a man, stands as a woman; symbolic of her/his strength. Blinded by her true love for her husband and sons, they could do no wrong. She is giving to him, while she is a distant second to his happiness. While Mr. Alexander is a towering figure, one of protection, he is also a formidable figure as an actor. He is a force on stage, with deep and forceful movements and great "business" to his body movements.

In an otherwise eerie musical, "Bodas" makes its mark with the music.. in Papaceccio's rhythms and vocals the show flows with suspense and innovative sounds that pull the entire show together. Sandra Isaack's movements too blend the edgy story together with the resonance of both the plot and music.

"Bodas de Blood" is a first rate off off Broadway musical. The thought of every little detail of costumes (Raffaella Toni), original music (Francesco Santalucia)and lighting (Danila Facco) brings back how talented the directors, set designers and lighting designers were in producing low budget shows in tiny theaters. Whereas today most off off Broadway writings deal with more social issues rather than an important body of works like "Bodas".

While keeping the show simple but elegant in a small theater gives the feeling of watching the performers in your living room. Up close like this gives the director freedom to move the actors around like chess pieces. The small stage, while keeping the action straight forward, the director used both rear entrances and other stagecraft for the actors to move about as needed. The simple staging lent itself to the main focus which was the music and the action before us. The dance movements left the audience with a variety of interpretations, as did many other subtle and not so subtle pieces. Why the sanguine yarn? Why the boxes as props? Why a man as the mother?

Many off-off Broadway shows, no matter how good they are, tend to have varying talent amongst the cast. While most of the actors did an admirable job, some were not able to hold the stage like the others. The strongest actors here were Mother, Father, Son, former boyfriend as well as the crippled woman. The aforementioned actors put forth a formidable performance.

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Next up is Dorian Grey. It will be interesting to see how this unique novel is transferred to the stage. Like so many shows this Broadway season, we will be entertained ( or not so), by the unique stories that are coming in play form. "Goodnight, and Good Luck" will transfer as a movie. George Clooney who starred in the movie will be coming to Broadway to star in the role in which he originated. "Boop" and "Smash" will be interesting as well. It will be a challenge to make these two shows stage worthy.

Robert M. Massimi. Broadway, Tony Awards, George Clooney, "Boop", Smash", "Dorien Grey".