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Dona
Rosita is a curious play in that it combines profound sadness with light
comedy. This production opens with a display of flamenco dancing and
uses musical interludes to provide a hint of a Spanish setting, but
this could easily be a Victorian drawing room drama.
The theme of the play derives from Federico Garcia Lorca's concern with
the treatment of unmarried women in Spanish society. Dona Rosita's fiance
is suddenly called away to South America on urgent family business,
he promises to return and she waits for him faithfully. Indeed she waits
for 25 years.
The plot seems far fetched, but Lorca's intention is satirical, and
as a dramatic poet he is not overly concerned with literal representation,
so a realistic senario is pushed to its extreme. Dona Rosita has no
reason to doubt her fiance's sincerity, but by the time she has doubts
she is no longer considered an attractive proposition for other suitors.
She then tragically holds on to a false hope to give meaning to her
life.
The play is of its time; even if we are undecided as to whether being
single is something to celebrate or something to be angst-ridden about,
there no social stigma about being single and the term 'spinster' has
become an anachronism. Even Lorca's chivalry is dated. The extended
metaphor for Dona Rosita, as a flower coming in to bloom and then losing
her petals, brings to mind the old chestnut about men of a certain age
being considered distinguished, while women are considered past it.
There is a good performance by Anna Carteret as the phlegmatic housekeeper,
and also by Sheila Reid as Dona Rosita's aunt and guardian. The banter
between these two characters provides a counterpoint to Dona Rosita's
existential heroism.
Till 24
April.
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