Showing @ Riddle’s Court, Edinburgh until Sat 31 Mar

The sharing of parents doesn’t necessarily lead to the formation of an undeniable bond between siblings. The Gallaghers’ turbulent careers stand tribute to the sporadically fractious rapport that can arise between kin. At the helm of Theatre Paradok’s latest production is Leonie-Rae Gasson who explores the disorder of familial relationships and the actions that induce a reassessment of loyalties.

Set amidst the throes of the 1910-1929 Mexican revolution, the Fuentes family encounter discordant turmoil. While political allegiances arouse some controversy, the weightiest dispute comes from the sisterly rivalry between Rosa (Bex Bowen) and Maria (Isabel Palmstierna) in their joint pursuit of the smouldering Santiago (Fred Fergus).

While the language isn’t as poetic as Lorca’s Blood Wedding, it’s still passionate enough to conjure the fundamental emotive visuals for a tale of forbidden love. The performances predominantly reflect this sentiment, most notably in Bowen’s convoluted Rosa whose sultry maiden is torn between her family and her heart. Other character depictions however range from melodrama to monotone and prevent this show from escaping the archetypal “student theatre” remit. Gasson displays a competency in her direction however, showing an imaginative approach to a now hackneyed storyline (it’s basically Romeo and Juliet); and a willingness to experiment with standard form, as she splits the audience to emphasise the divide between the siblings and the ongoing civil war. Unfortunately, the eclipsing love story prevents Mexico’s internal politics from constructing a deeper thematic layer which parallels the romance.

Mingling the narrative with such seductive choreography, however, challenges fidelity and is executed by hip-notising dancers and accompanied by the catchy Latin rhythms of Tequila Mocking-Bird. It helps balance the somewhat clichéd plot and reflects the all-encompassing effect unrequited love has on the senses. The sumptuousness of the imagery is accentuated by the frequent distribution of some palatable homemade Mexican food, further ensnaring the audience’s taste and smell. While some creases need ironing, Gasson’s enjoyable production focuses on the sensual bombardment of an illegal liaison, and why there’s no reason not to show this on stage.

Riddle’s Court is a World Heritage Site.

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