Theatre Review: Blood Wedding Comes To Post-Brexit London

Federico Garcia Lorca's emotional tale of family animosity is transposed to post-Brexit London, where Spanish restaurant workers struggle to keep memories of their homeland alive, while knife crime and family conflict tear their families apart. Much of the squabbling takes place in a grimy restaurant kitchen, with the violence of the streets outside a constant threat.

Maria de Lima presents a stubborn and bitter Mother who holds the audience throughout the show. Racheal Ofori is a well-meaning but impulsive Bride, torn between doing her duty and following her desires. Yorgos Karamalegos injects physical theatre into the piece as the muscle — bound leather-clad moon who appears between particularly stressful episodes. Composer and guitarist Camilla Mathias brings original flamenco-inspired music to the show, and shines as the wedding singer whose mournful lyrics set up up the tragedy that follows.

The adaptation, by George Richmond-Scott, makes smart use of the available space. Even the theatre café plays a part — doubling up as the eponymous wedding venue. As the other part of the play's title suggests, things do not go as hoped.

Blood Wedding, Omnibus Theatre, 1 Clapham Common Northside SW4 0QW, £16/£13, 4-23 September