...an emotionally precise production that is highly stylised and stately, yet full of rich and savage beauty...evocative use of language is matched by the extraordinarily visceral physical language and clarity...'
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The best moments are fleet and wondrous...But they're small rays of invention peppered in a near-two-hour production that yearns for more.'
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Atmospheric but rootless revival...Farber is always a compelling directorial presence...she displays a startling visual sensibility, and she draws some visceral, physical performances from her actors.'
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Farber keeps the pressure turned up to 11, which can prove wearing once the amusement at how gloriously OTT it all is wears thin. But for all its excess, I kind of loved it.'
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The marriage of Yaël Farber with Marina Carr should be a transcendent thing – and, mostly, it is. But, like the eponymous wedding in Federico García Lorca’s tragic play, it also falls apart towards the end.'
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Bold and beautiful tale of doom...Yaël Farber’s visceral production, relocating the action to rural Ireland, retains all the potency of Lorca’s play about tribal vengeance.'
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Yes, it loses some narrative grip near the end as the blood flows and the symbolism rises, but mostly Farber’s daring sustains an evening of magical realism that is beautiful but brutal.'
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There are electric moments, particularly whenever Thalissa Teixeria’s white-suited Moon takes to the stage...But ‘Blood Wedding’ is often so bluntly miserable as to become numbing: an oppressive pile-up of tragedy.'
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