I enjoy the work of Federico Garcia Lorca but it does come with a certain stifled weight. This is not unexpected from a play about a newly married couple who cannot have children but Anthony Weigh’s adaptation somehow feels much more contemporary. Coupled with Natalie Abrahami’s exposing direction we were taken on a spectacular journey.
Ty Glaser’s innocent and tormented heroine had a satisfying journey with enough heart not to be an irritating martyr while Hasan Dixon’s Juan also made a good transition from quiet boy next door to the husband plagued by an ambiguous sexuality and troubled past.
Ross Anderson’s Butcher left me with the feeling of being very underplayed, but as the story continued this turned into a convincing and unnerving performance. The real sparkle however came from Alison O’Donnnell who constantly provided a breath of fresh air. Her performance was as warming and sparky as it was completely natural and managed to lift a play that is otherwise devoid of laughs.
I did feel that there should have been more found in Sharon Duncan Brewster’s character but her whole section of the story would have been better explored with a more spiritual context.
The composition for the show was done by Jon Nicholls’s and from the outset gave the feeling of unease which lingered with you as you left. Ruth Sutcliffe’s set was simple yet incredibly effective and the corrugated iron wall and three sided audience acted as a terrific tool for claustrophobia.
Yerma was accessible and provoking. I was moved swiftly through a story which I expected to drag at times but happily, Natalie Abrahami’s piece was compelling and well executed. Very enjoyable.