Bloody and haunting, Blood Wedding is a tale of star-crossed lovers, and the carnage that begets their ill-fated romance. This play is chilling, a glimpse into the isolation in the wake of war and how pain and jealousy can amalgamate into complete and total hatred.
Blood Wedding is an exceptionally well written story, riddled with characters each in a unique state of hurt, so much so that, despite the fore-shadowing of the play’s title, it’s still shocking and saddening to see the final confrontation play out. Director Deborah Leiser-Moore brings the script to life by highlighting this pain and isolation through an attention to motion and the physical division of the set. Key scenes take place without dialogue, with the character’s emotion expressed solely through the body. The play concludes with a bloody fight, played out as if in slow motion, each strike by the male leads aching as they fight for their final act of honour. Creative choices like this allowed the audience to hurt with these characters and crawl under their skin to feel their pain in these titular moments.
JMC presents some striking talent in this production, particularly Mia Connoli and Teresa Giansiracusa. I connected the most with these two characters and was blown away by how much each character wore their hearts on their sleeves. Mia Connoli as leonardo’s Wife has a beautiful voice, and her vocals added a beautiful haunt of mystery as the plot reveals itself. Teresa Giansiracusa as the Bride was heartbreaking as the lead, presenting a palpable inner conflict, especially during her monologue she performs in the bath, the morning of her wedding day. Dion Zapantis as Leonardo Felix was also fully committed, and brought an electric physicality to his performance.
My favourite part of the show was the soundscape. Aside from a few more upbeat songs breaking up the tragedy of the performance, the score was a series of evocative, echoing vocals that really dig into your chest. At the start of the wedding scene, these were incredibly powerful, especially watching as each actor flowed silently between the mixed emotions of the wedding. These vocals sprinkle through the show and despite the warm lighting, evoke a cold atmosphere and a fascinating juxtaposition.
I loved the staging choices; the elevation of Teresa Giansiracusa’s character at the beginning, high and unattainable, but feeling severed and alone. I loved how Mia Connoli’s character stayed predominately in the dark, shadowed beneath the platform suspending Giansiracusa and her baby, at the back in the deepest pocket of the stage, long forgotten by Leonardo Felix. Tess Lynch Steele as Mother manning the front corner of the stage with her brutal onion station, mourning the loss of her son and husband but expressing it only through a wish for further bloodshed. The set feels unfinished and raw, complimenting the story and working in favour of the show, allowing the performances and physicality to be what shines through.
Blood Wedding is a show that picks at a wound until it bleeds; a stubborn, yet brutal portrait of masculinity under the patriarchy and its collateral damage.
To book tickets to Blood Wedding, please visit https://www.theatreworks.org.au/2025/blood-wedding.
