Both Barrels Theatre’s revival of Peter Gill’s 1976 Small Changes looks back to postwar Cardiff through the eyes of two Catholic, working-class families.
First presented at the Royal Court in 1976 and last seen in London in a starry 2008 revival directed by the author, Peter Gill’s knotty, elegiac text is a dense, tense jumble of memory play, kitchen sink drama, poetry and gay love story. Dipping back and forth in time between the mid 1950s and the mid 1970s in working class Cardiff, it still packs a powerful punch as it raises questions of where do you come from versus where you are now, and what it emotionally cost you to get there.
At the Omnibus Theatre last Wednesday, Blood Wedding’s 7.30pm start time was delayed as one of the actors was trapped on a broken down overground train. I was already there to chair a post-show Q&A with adapter/director George Richmond-Scott so we decided to make it a pre-show Q&A.
Federico García Lorca’s rural tragedy Blood Wedding gets a distinctly urban makeover in George Richmond-Scott’s powerful new adaptation.
In this latest production of Blood Wedding which is adapted and directed by George Richmond-Scott, the play has been updated to present day Britain, but retains the crucial and distinctive Spanish piquancy.
Director George Richmond-Scott spoke to Love London Love Culture’s Emma Clarendon about his upcoming production of Blood Wedding at the Omnibus Theatre from 4 September.
As part of her ongoing post-show Q&A series, on Wednesday 12 September 2018, Mates co-founder Terri Paddock returns to Clapham’s Omnibus Theatre for a new modern take on Lorca classic Blood Wedding. Got any questions?