The Bite Magazine - Autumn/Winter 2025 - Issue 38

bitetheatre every direction, search everywhere. The bloody days are back. Both families! Get after them!” We are left during the interlude with images of blood spatters and drips. I imagine the next part will be bloody, and I shudder. Act 3, Scene One’s projection is of a dark forest. The ta- bles and chairs have gone, and a log installation is set to the side of the stage. Woodcutters (Jonathan Buckingham, Christopher Lloyd-James, Isabel Daly) enter. They are part of the search party and discuss the runaways’ intentions and how the rising moon would illuminate their cover. As the moon rises, a high, hollowed-out circle that had pre- viously been covered on one of the stone columns reveals the Moon personified, played by the same actor as Wife (Ingrid Werner). The moon delivers a soft soliloquy, but because the actor’s energy remains the same as when she played Wife, despite the costume change, I’m momentari- ly confused. What’s the wife doing up there? To add further confusion, the actor who played Mother (Katherine Holt), now draped in rags as a vagrant, but billed as Death, enters. A dialogue between the Moon and Death ensues, discussing whether the runaways might be murdered upon capture; however, it piqued my interest. I decide to sit up and dissolve my confusion. The Bridegroom and his village mates enter as the search party, discussing where to look. They split up. Bridegroom stumbles upon Death and enquires about the runaways. Death suggests he looks in a particular part of the forest and leads the way. Leonardo and Bride enter. They realise they are being hunted, so Bride suggests she goes on ahead alone. Leonardo refuses, and they discuss their plans to escape the forest uncaught and their love for each other. There’s a game of hide-and-seek between them and the Woodcut- ters. As dawn approaches, the runaways grow more des- perate, yet remain concerned about their commitment to each other. The scene closes on them embracing, destined to be found, and Moon closes her window. The last scene opens to the village girls (Fiyin Ifebogun, Layomi Coker, Holly Faulkner) unravelling red wool. I don’t get the significance, but I’m presuming an old Span- ish tradition of sorrow as I listen to their words: “The lover is speechless. The groom is red. On the bank of the river, I saw them lying.” Somewhere else, Wife and her friend arrive, seeking to know what has happened. Death appears, asking for bread, and when questioned, she reveals that two men lie dead by the stream. Wife is distraught. Meanwhile, Moth- er and her gossiping neighbour are both crying. The Bride enters in a bloodied, torn wedding dress, attempting to ex- plain the chaos of being torn between two men. She goads Mother to retaliate. “Stop talking. Take your revenge. Here I am. Here’s my throat. You see how soft it is. Easier than cutting a dahlia in your garden.” The village women enter bearing candles to mourn and call upon the heavens. Leonardo and the Bridegroom ap- pear as ghosts as the projector shows a frightening pool of blood, ending the performance. Despite Flavia Di Saverio’s direction, I found the produc- tion difficult to follow at times, particularly since some cast members played multiple roles and only one character was given a name. Without the detailed costume changes designed by Emma Efkeman, I would have remained con- fused, which would have affected my enjoyment. Even so, the adaptation was bold and entertaining, though certain scenes, especially in the second half, lacked passion. The strongest elements were the set design, the costumes, and the lively singing and dancing. I’m glad this was part of Tower Theatre’s season, as it al- lowedme to add tomy repertoire of classic theatre. Talking of which, to see what else is on for the rest of the season, or to sign up to their newsletter, please visit their website. www.towertheatre.org.uk/whats-on