Tag Archives: Miztli Rose Neville

Blood Wedding – 3 Stars


Blood Wedding

Omnibus Theatre

Reviewed – 7th September 2018


“in modernising the poetic writing, the atmosphere of reality in the first half leaves us unprepared for the expressionism of the second”


The first of Federico Garcia Lorca’s famous trilogy of tragedies expressing extreme elemental passions and the powerful Spanish theme of honour, ‘Blood Wedding’ is a poetic drama set in rural Andalucia. Influenced strongly by the past – medieval ballads, traditional songs and early metrical structure – he also incorporates modern and surrealist ideas, shocking in his day. Director, George Richmond-Scott, updates the story to present day London, leaving the verse dialogue behind and omitting characters, in particular the wedding entourage, which have a somewhat Greek chorus effect in the original. However, in relocating both in time and place, we lose the essence of close-knit family feuds, social pressures and the submissive position of women, which undermine the burning sense of calamity and resignation. And in modernising the poetic writing, the atmosphere of reality in the first half leaves us unprepared for the expressionism of the second.

The cast complement each other in style, creating moments of humour, music and movement but it is Maria de Lima as the Mother who is the underlying strength of the play, carrying her pain throughout as a reminder of humanity’s tragic impotence. The smouldering sentiments of Leo (Ash Rizi) are quietly but intensely present and the Wife’s sad fate is beautifully portrayed by Miztli Rose Neville. The Son and the Bride (Federico Trujillo and Racheal Ofori) each have their poignant moment – the opening scene showing the touching connection between Mother and Son, and the Bride’s moving declaration to Leo in the third act, but the weight of their doomed relationship fails to come across. Camilla Mathias’ musical interludes fit invitingly into the narrative as does her cameo role as the Neighbour, and Yorgos Karamalegos personifies the Moon with expressive movement, strangely out of place in this real-world concept.

While Christianna Mason’s set design fills the unadorned stage with doorways, platforms and steps to create a feeling of urban space, Richmond-Scott’s artful direction uses the whole theatre, cleverly involving the audience in the action. Lorca’s stage directions are very precise and he gives clear instructions for music, sound and colour. The lighting (Jack Weir) gives dramatic context to the bareness of the surroundings and the sound by Daniel Balfour is perfectly coordinated with the action, adding extra dimension to the scenes.

It is an innovative idea to remodel such a profoundly traditional piece of theatre. It has a relatable script, genuinely tortuous emotions, immersive involvement and abstract interaction but it is an uneven production in the general structure and on an emotional level.


Reviewed by Joanna Hetherington

Photography by Nick Arthur Daniel


Omnibus Theatre

Blood Wedding

Omnibus Theatre until 23rd September



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Dubailand – 4*



Finborough Theatre

Opening Night – 6th February 2017



“An extremely captivating and enormously enjoyable show”


Set in and around the high rise building sites of Dubai, Carmen Nasr’s thought provoking work explores the contrast between the glittering, almost hedonistic lifestyle of those inhabiting the emirate and the stark reality endured by those building  it.

The play explores the plight of the underpaid and poorly treated workforce, mainly migrants from India hoping to create a better life for their families back home. Alongside these workers are the ex-pats, living the dream and making huge amounts of cash by selling the luxury lifestyle to others.

Between these two opposite sides comes Clara (Miztli Rose Neville), a feisty young journalist and former close friend of Jamie (Nicholas Banks) one of the marketing team or a ‘Creative Digital PR Specialist’ as he calls himself. Under the guise of being a shopping correspondent covering an exhibition, she seeks to uncover the truth behind the alarming amount of workplace ‘accidents’ and deaths; a path that will lead her to betray her friend and expose herself to danger.

The design of the show (Bex Kemp) is incredibly simple yet remarkably effective. Who’d haev thought a few two feet square perspex boxes could be so adaptable? Subtle lighting (Robbie Butler) and a skillful use of sound (Jack Burton) alongside a few basic props take us effortlessly between scenes, whether we’re atop a skyscraper with the workers or out enjoying the indulgence of a boozy bar scene.

The two featured workers are portrayed well by Adi Chugh (as Amar) and Varun Sharma (as Tanveer), allowing the audience to feel their pain from the loves and lives they’ve left behind.  It’s fair to say that the whole cast were believable and put on a deft performance; Nicholas Banks giving a particularly strong and perceptive portrayal of Jamie.

The show itself is very believable. It’s a situation which everyone knows goes on, but it’s more convenient and lucrative to brush it under the carpet.

This is a well researched piece and extremely engaging to watch. A credit to the writer and director (Georgie Staight) and the cast. Definitely in need of a longer run.




Production Photography by Tim Hall



 Finborough Theatre, 118 Finborough Road,

London SW10 9ED


Box Office 0844 847 1652   Book online at www.finboroughtheatre.co.uk

Sundays, Mondays and Tuesdays, 5, 6, 7, 12, 13, 14, 19, 20, 21 February 2017.

Sunday and Monday evenings at 7.30pm.

Tuesday matinees at 2.00pm.

Tickets £18, £16 concessions. (Group Bookings – 1 free ticket for every 10 tickets booked.)

Performance Length: Approximately 90 minutes with no interval.


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