by Walter Bilderback, Production Dramaturg
During a break in the schedule of the touring company La Barraca, Lorca began work on Blood Wedding, which would become his first real theatrical success. Leslie Stainton describes the play as essentially “a long poem, in which passages of verse and prose combine to produce a lyrical portrait of Spain and its people.”
“To readers of Gypsy Ballads and Poem of the Deep Song [two earlier books of poetry by Lorca], this was familiar ground. Blood Wedding re-creates the archetypal Spain of those collections—a region steeped in passion and blood, in popular Andalusian imagery and song, a world where nature reigns. . . . Nature itself is a protagonist, most provocatively in the forest scene, where the Moon—a ‘young woodcutter with a white face’—appears, seeking blood to warm his icy flesh. Characters throughout the play recall the cycles of nature: the planting and harvesting of crops, the earth’s rotation from day to night, and from birth to death. Had his most distant childhood memories not borne the ‘flavor of the earth,’ Lorca reflected, ‘I could not have written Blood Wedding.’ The play allowed him to capture the details of the Andalusian countryside ‘with the same spirit I felt in my boyhood years.’”
Lorca’s experience with La Barraca affected his involvement with the premiere of the play. Although Eduardo Marquina was officially the director, by all accounts the playwright ran the rehearsals. He had developed a directorial style of his own. According to Stainton, “He brought to the task a painter’s sense of composition and a musician’s understanding of timing. Rhythm—the tempo of the performance—was crucial.” (Csaba Horvath’s direction of the Wilma’s production of Blood Wedding is entirely faithful to Lorca’s spirit in these regards.)
Lorca’s brother later said that the playwright attended every rehearsal and essentially functioned as the director. The actor playing the Groom recounted that “no play in the Spanish theater has ever been rehearsed so thoroughly.”
Blood Wedding opened on March 8, 1933. During the “Awaken the Bride” sequence in the play’s second act, the audience stopped the performance with applause and demands that Lorca come onstage to take a bow. He was called up onstage at the end of each act. The reviews were, with few exceptions, raves. “I feel calm and content, because I’ve had the first great triumph of my life,” Lorca told a friend.