For its magic, the show will utilize the same tool of children bored in bedrooms everywhere: imagination, and little else. “No harnesses, no wires,” Lluberes promised. “My thing is, how did you fly when you were a kid? How did you imagine flying?”
He’s thinking of applying the same principle to Tinkerbell, creating her with “pure audience participation.”
“I keep saying [this play] is dark, dark, dark,” he said. “But it’s also a playground of the imagination. . . . As much as the play is about the pain of growing up, it’s also about the power of theater, how theater can transform.”
Feb. 8-March 3, H Street Playhouse, 1365 H Street NE; www.
Nice day for a red wedding
In Constellation Theatre Company’s “Blood Wedding,” death is onstage from the very beginning. Death, in this case, is a man. The moon, too, is personified (unsurprisingly, as a woman); she wears a white veil and, thanks to the set’s construction, is elevated in the space.
“These huge conceptual ideas are manifest,” said Allison Stockman, Constellation’s artistic director. “There’s a combination of helping our actors find the humanity of it and, at the same time, trying to lift it out of the everyday.”
The play shouldn’t have much trouble being lifted out of the everyday, with its soap-opera scope and murderous themes. “Blood Wedding” follows two feuding families and a betrayal on one man’s wedding day; his bride-to-be runs off with a man from the rival clan with whom she was once romantically involved. (This is why you never invite exes to the wedding.)
“There’s a mirror of the bride and the groom, a romantic couple, in the relationship of the moon and death,” Stockman said.
“It’s epic,” she continued. “It’s a timeless tale of forbidden love . . . and the writing goes, in one moment, from passion and anger and desire to things that are very funny, even sort of silly.”
Though the threat of murder looms over the characters, much of the violence happens offstage, Greek-tragedy style. In an effort to “embrace the sense of ceremony” inspired by the failed wedding at the show’s beginning, the play will incorporate original live music.
Even though the play was written in 1933, the story fits right into 2012, “especially in a place that can be as polarized as Washington can be,” Stockman said. “Death begets death, fighting begets fighting, and maybe there’s a more peaceful way to coexist.”
Feb. 2-March 4, 1835 14th Street NW; www.constellationtheatre