‘Til
death
do
they
part
UCLA’s theater department mounts a production of Lorca’s ‘Blood
Wedding,’ a tale of love, death and feuding families in 1930s Spain
that has something to tell our own society
By Elizabeth Bull
Daily Bruin Contributor
The ’90s are more like the ’30s than they seem.
Or so claims the UCLA production "Blood Wedding," which opens
Friday at the Little Theater.
Although the actors, designers and director of "Blood Wedding"
can’t seem to pinpoint the play’s general theme, they all agree
it’s just as much a wake-up call to today’s audiences as it
originally was in the 1930s.
"It’s about people whose lives get choked by the assumptions
that society makes about them – their life and their love is
choked," says Rafal Klopotowski, director and master of fine arts
candidate in the School of Theater, Film and Television.
"I happen to believe there is a lot of that going around today,"
he says. "Even though the play is 60 years old, and the people in
it may be strangers to us because of time and place, the issues
still remain true and valid."
"I think it’s about a constant struggle," says Noelle Morsy, a
junior transfer, "not between good and evil, but survival and
honor. It questions whether it is more important to live or to die
with honor."
Jason Bushman, a freshman theater student, simply describes it
as "fate."
But "Blood Wedding" needs no exact description because it
essentially interlaces all of these ideas into one story that
exceeds time and setting to affect audiences today.
Revolving around the confinements of a rural Spanish community,
"Blood Wedding" follows a mother and her son through a wedding, a
feud, and everything in between.
"It’s about defying parents, being independent, and finding who
you are," says Bushman. And, from his point of view, this is a
reality in many people’s lives.
"There are actually people in my dorm who, for instance, aren’t
allowed to date people who are from a different race or religion,"
he says.
Morsy, too, sees a relationship between the rural Spanish
society and UCLA’s diverse community.
"I think this play gives a good illustration as to how a
community can separate and destroy in a lot of ways," Morsy says.
"A lot of the ideas in the play are about what role you play in the
community, and whether or not you’re playing it just because it’s
part of the community or if it’s because of your individual
spirit.
"I feel that on campus there are so many different groups that
work to try and give you faith and a place – whether in your
ethnic, religious, or whatever community. But, at the same time,
these groups work to separate instead of work together. I mean, if
you don’t look at your individual spirit, you won’t be able to
survive in the world," she says.
In fact, "Blood Wedding" seems to be all about finding itself in
society, and its entire design takes on this question.
"The underlying theme between the play and its design is showing
that there is a division in society, and someone who tries to go
their own way against the society’s nature ends up getting
sacrificed to this society," says Chris Kerins, set designer and
second-year graduate student in scenic design.
"We tried to achieve a Dali-esque view of the Spanish
countryside," Kerins says. "We have a divisiveness that the play
brings forth to show people’s separation – sort of shown with an
emblem of a blade that cuts through the earth, the stage, and
transforms to a river in some scenes," he says.
But "Blood Wedding," which was written by Frederico Garcia
Lorca, wasn’t simply chosen to reflect today’s society and UCLA. In
fact, Klopotowski, who came to the United States from Poland in
1981, relates his choosing Lorca’s play almost to chance.
"There were a lot of limits that went into the reasons for doing
‘Blood Wedding’ even before I dealt with the issues of the play
itself," he remembers. "We directors always work a number of
productions at the same time – read plays and work them out in our
minds.
"Then, one day, there is a theater and a group of people that
seem to fit the play and then you do the play," he continues. "For
Lorca’s play, all elements sort of fell into place."
And the place "Blood Wedding" happened to fall into was a large,
active university where Lorca’s universal lessons about society’s
traps and individuality could be received by open audiences.
"There’s a very tightly woven society that dictates that people
should only behave a certain way and because of this it causes the
three kids in ‘Blood Wedding’ to waste their lives," Klopotowski
explains. "Because of the assumptions and rejections of the society
or community they end up dead, or worse, dead alive."
Like the play itself, the cast and crew formed their own tight
community – but with a lot less tragedy.
"My work depends on support and cooperation from so many
people," Klopotowski says. "Even though I seem to be put into the
position of leadership, had I not had my troops, what kind of
leader would I be? We are all working together in order for the
play to come together."
STAGE: "Blood Wedding" plays at The Little Theater in Macgowan
from March 8 to March 16 at 8 p.m. Wednesday through Sunday with
noon matinees on Sundays. Tickets are $7 for students. For more
info, call 825-2101.
SCOTT O/Daily Bruin
Patrick Hallahan (the moon)
SCOTT O/Daily Bruin
(l to r) Javier Armijo (guest), Jason Bushman (the groom), Mike
Warren (guest), Aaron Kisner (guest)
SCOTT O/Daily Bruin
Top: Maria Eberline (bride), bottom: Mike Warren (guest)
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