REVIEW
Lindisfarne present
Lope De Vega's
FUENTE OVEJUNA
Dixon Studio, Palace Theatre, Westcliff on Sea
6th-10th May 2025
Lindisfarne present
Lope De Vega's
FUENTE OVEJUNA
Dixon Studio, Palace Theatre, Westcliff on Sea
6th-10th May 2025
Lope de Vega’s Fuente Ovejuna was written in approximately 1612 and inspired by a real 1476 incident: farmers and peasants of the village of Fuente Ovejuna in the region of Castile, Spain, rose up against a military commander and his soldiers garrisoned in the village, who routinely raped the women and brutalised and oppressed the villagers. I have to confess, it's not what I'd call an ideal backdrop for what is billed as a 'tragi-comedy' - more 'tragi' than 'comedy', but lets roll with it for now as rumour has it that Lope de Vega’s genius was to create a powerful theatrical mix of music, singing, dance, humour, and unforgettable drama. Lindisfarne have made a bold decision in taking on this somewhat complex yet intriguing play translated by Adrian Mitchell.
I should make it clear at this point, that Lindisfarne invited me to review their dress rehearsal ahead of the opening night.
Director, Jeremy Battersby, clearly had a vision of what his version of this play should look like and with no preconceptions, and having no previous knowledge of the play, I made my way into the auditorium.
Greeted by a 15th century travelling player of the troupe I am guided to my seat, whereupon I am told that I shouldn’t be sitting on the left side of the auditorium as that’s where the men sit and the women had to sit on the other side. Apparently this is in line with the way that 15th century audiences were treated - an early indicator perhaps of the themes within this piece and perhaps a little awkward for some. Fortunately as I was on my own this wasn’t a problem, which also made it easier when a member of the audience (me) was picked out to dance on stage with the troupe just as the play begins. All good fun as long as you’re not shy and enjoy an immersive experience.
There’s quite a bit of audience interaction at the start of this production so if you are the shy retiring type, it may be an idea to attempt to place yourself towards the back. That said, the banter from leader of the troupe played by Rob Moore is very funny and brilliantly delivered. Moore is a joy throughout this production and the pace tends to pick up whenever he is in a scene.
When a pair of the troupe’s musicians come on stage to play the recorder and tamborine to the Black Adder theme tune you start to get a feel for the way this play is heading. For the most part it is a rather jolly jape.
So after a random ‘turn off mobile phones and this is the fire exit’ announcement, the play within the play ensues. The set is basically bare aside from a large throne type chair which serves as both a palace and a village square. The blacks that surround the stage have been evenly interspersed with backdrops of the stone walls of the town with the fields beyond and are very effective.
The play begins and we are introduced to the villain of the piece, The Commander, played by James Wall who brings a squirmy creepiness to the role, putting me a bit in mind of a medieval Ricky Gervais. Amanda Whiteford brings versatility to the stage, playing the subservient, Baldrick-esque Ortuno to The Commander and also takes on the role of the regal Queen Isabella. Samantha Anderson does a great job as The Grand Master, really finding the humour in the fact that as a 17 year old lad, he was too young for the job and Anderson also shows a flair for characterisation as she doubles up as Barrildo, a shepherd.
Interspersed between the action of the play, various members of the cast get to perform little poems and songs to tunes that director, Battersby, has devised. These for the most part work well into the scenes but I think it would have been rather nice for each of these songs to have some musical accompaniment and perhaps give the recorder and tamborine a bit more action.
Carly Knight and Jemma Perrin as pals, Laurencia and Pasquale, give the audience an insight to the perils of the women of the village who are picked out by The Commander in order for him to have his wicked way with them - something the pair are desperate to avoid. It’s a little shocking to comprehend as the overtones of this play are comedic yet the undertones are really rather brutal. This is where any Black Adder similarities are literally put to bed and the ‘jestiness’ of the play gets a bit serious. It’s no wonder the girls take on their mothers' advice to ‘not trust a man as far as they could throw him’, despite the fact that the gentle and love-lorn Frondoso, soppishly played by Gareth Edwards, is completely smitten with Laurencia and is desperate for her to reciprocate his desires.
Chris Scott looks magnificent as the Mayor of the village and it has to be said that all of the costumes in this production, by Valery Miller, are spot on – rich in detail and clearly made with love and expertise. They help to bring life to the minimalist stage as well as ground the piece in its historical roots while allowing for theatrical flair; not least in Nick Jacobs' costumes and headwear for Leonela and Don Manrique - some artistic licence I feel with the silver glittered shoes though.
The style of this production reminds me somewhat of Molière’s plays, with its absurd banter and inappropriately clever innuendos. However, not all of the comedy lands as firmly as it might here with some of the cast, with a few lines getting a little lost in delivery and clarity.
Act 2 lulls us into a false sense of security with the whole of cast performing a lovely song and Samantha Anderson gets to show off some impressive vocals but in a heartbeat we are suddenly witnessing a jaw dropping monologue from Laurencia, as she enters the stage through the audience in a torn and bloodied white dress, who then viciously berates her fellow villagers for not defending her when The Commander drags her away during her potential marriage to Frondoso to sexually violate her. It’s actually pretty disturbing and kudos to Carly Knight for this harrowing portrayal. If the aim here is to make you feel agonisingly uncomfortable, then the arrow has hit the mark. It’s heavy stuff.
After Lorencia’s outburst proclaiming that the villagers are all sheep and that the men are totally useless doing nothing to help the women in their plight, they take an about turn and find the gumption to rebel against The Commander. The villagers rise up, overthrowing their oppressor in an act of collective rebellion that brings the tone back up and after being pardoned by the King and Queen, they joyfully celebrate with another rousing song.
This often feels like a random storyline but based on true facts and with some shocking themes of sexual violence, class oppression and human rights, it's still seemingly relevant. It’s a lot to digest and with Jeremy Battersby taking on the roles of a farmer and King Ferdinand as well being the sole director with no assistance, it must have been a challenge to see the bigger picture, especially with such a large cast.
Lindisfarne’s production of Fuente Ovejuna may be a long-winded and slightly chaotic tale, but they have done a decent job in embracing its eccentricities. The result is a show that surprises, unsettles, and ultimately resonates. Yes, the comedy may sugar-coat the horror – but perhaps that’s what makes the bitter truth hit even harder.
Review: Kim Tobin
I should make it clear at this point, that Lindisfarne invited me to review their dress rehearsal ahead of the opening night.
Director, Jeremy Battersby, clearly had a vision of what his version of this play should look like and with no preconceptions, and having no previous knowledge of the play, I made my way into the auditorium.
Greeted by a 15th century travelling player of the troupe I am guided to my seat, whereupon I am told that I shouldn’t be sitting on the left side of the auditorium as that’s where the men sit and the women had to sit on the other side. Apparently this is in line with the way that 15th century audiences were treated - an early indicator perhaps of the themes within this piece and perhaps a little awkward for some. Fortunately as I was on my own this wasn’t a problem, which also made it easier when a member of the audience (me) was picked out to dance on stage with the troupe just as the play begins. All good fun as long as you’re not shy and enjoy an immersive experience.
There’s quite a bit of audience interaction at the start of this production so if you are the shy retiring type, it may be an idea to attempt to place yourself towards the back. That said, the banter from leader of the troupe played by Rob Moore is very funny and brilliantly delivered. Moore is a joy throughout this production and the pace tends to pick up whenever he is in a scene.
When a pair of the troupe’s musicians come on stage to play the recorder and tamborine to the Black Adder theme tune you start to get a feel for the way this play is heading. For the most part it is a rather jolly jape.
So after a random ‘turn off mobile phones and this is the fire exit’ announcement, the play within the play ensues. The set is basically bare aside from a large throne type chair which serves as both a palace and a village square. The blacks that surround the stage have been evenly interspersed with backdrops of the stone walls of the town with the fields beyond and are very effective.
The play begins and we are introduced to the villain of the piece, The Commander, played by James Wall who brings a squirmy creepiness to the role, putting me a bit in mind of a medieval Ricky Gervais. Amanda Whiteford brings versatility to the stage, playing the subservient, Baldrick-esque Ortuno to The Commander and also takes on the role of the regal Queen Isabella. Samantha Anderson does a great job as The Grand Master, really finding the humour in the fact that as a 17 year old lad, he was too young for the job and Anderson also shows a flair for characterisation as she doubles up as Barrildo, a shepherd.
Interspersed between the action of the play, various members of the cast get to perform little poems and songs to tunes that director, Battersby, has devised. These for the most part work well into the scenes but I think it would have been rather nice for each of these songs to have some musical accompaniment and perhaps give the recorder and tamborine a bit more action.
Carly Knight and Jemma Perrin as pals, Laurencia and Pasquale, give the audience an insight to the perils of the women of the village who are picked out by The Commander in order for him to have his wicked way with them - something the pair are desperate to avoid. It’s a little shocking to comprehend as the overtones of this play are comedic yet the undertones are really rather brutal. This is where any Black Adder similarities are literally put to bed and the ‘jestiness’ of the play gets a bit serious. It’s no wonder the girls take on their mothers' advice to ‘not trust a man as far as they could throw him’, despite the fact that the gentle and love-lorn Frondoso, soppishly played by Gareth Edwards, is completely smitten with Laurencia and is desperate for her to reciprocate his desires.
Chris Scott looks magnificent as the Mayor of the village and it has to be said that all of the costumes in this production, by Valery Miller, are spot on – rich in detail and clearly made with love and expertise. They help to bring life to the minimalist stage as well as ground the piece in its historical roots while allowing for theatrical flair; not least in Nick Jacobs' costumes and headwear for Leonela and Don Manrique - some artistic licence I feel with the silver glittered shoes though.
The style of this production reminds me somewhat of Molière’s plays, with its absurd banter and inappropriately clever innuendos. However, not all of the comedy lands as firmly as it might here with some of the cast, with a few lines getting a little lost in delivery and clarity.
Act 2 lulls us into a false sense of security with the whole of cast performing a lovely song and Samantha Anderson gets to show off some impressive vocals but in a heartbeat we are suddenly witnessing a jaw dropping monologue from Laurencia, as she enters the stage through the audience in a torn and bloodied white dress, who then viciously berates her fellow villagers for not defending her when The Commander drags her away during her potential marriage to Frondoso to sexually violate her. It’s actually pretty disturbing and kudos to Carly Knight for this harrowing portrayal. If the aim here is to make you feel agonisingly uncomfortable, then the arrow has hit the mark. It’s heavy stuff.
After Lorencia’s outburst proclaiming that the villagers are all sheep and that the men are totally useless doing nothing to help the women in their plight, they take an about turn and find the gumption to rebel against The Commander. The villagers rise up, overthrowing their oppressor in an act of collective rebellion that brings the tone back up and after being pardoned by the King and Queen, they joyfully celebrate with another rousing song.
This often feels like a random storyline but based on true facts and with some shocking themes of sexual violence, class oppression and human rights, it's still seemingly relevant. It’s a lot to digest and with Jeremy Battersby taking on the roles of a farmer and King Ferdinand as well being the sole director with no assistance, it must have been a challenge to see the bigger picture, especially with such a large cast.
Lindisfarne’s production of Fuente Ovejuna may be a long-winded and slightly chaotic tale, but they have done a decent job in embracing its eccentricities. The result is a show that surprises, unsettles, and ultimately resonates. Yes, the comedy may sugar-coat the horror – but perhaps that’s what makes the bitter truth hit even harder.
Review: Kim Tobin
This play takes its name from a Spanish village, Fuente Ovejuna, which rebels against its military tyrant. It is a tragicomic masterpiece by one of the greatest writers of the Spanish Golden Age, Lope de Vega with a modern adaptation by Adrian Mitchell.
A true story and subsequent legend of a rebellion led by a woman in Medieval Spain, the play has become a symbol of worldwide oppression leading to one of the most memorable acts of resistance in world drama.
Lindisfarne will transport you to Spain in 1600 and it will be an experience you will not want to miss!
A ragtail travelling theatre troupe comes to the local village to perform the famous tale of Fuente Ovejuna, it is lead by the famous Rodriguez Sanchez de Toledo, if the audience arrives at 7.20pm you will be able to meet him personally and enjoy some pre-show warm-up before the performance starts.
An evil commander comes to the town and starts to mistreat its inhabitants it takes all the resolve the town has to fight back.
A true story and subsequent legend of a rebellion led by a woman in Medieval Spain, the play has become a symbol of worldwide oppression leading to one of the most memorable acts of resistance in world drama.
A colourful production with dancing and songs taking you back to Spain in the 1600’s.
We request you leave your mounts with the ostler.
Lindisfarne Productions will transport you to Spain in 1600 and it will be an experience you will not want to miss!
Tuesday 6th – 10th May nightly at the Dixon Studio, Palace Theatre, Westcliff on Sea with a Saturday matinee on 10th May.
Tickets £17.50/£16.50 from the box office or via the website: https://trafalgartickets.com/palace-theatre-southend/en-GB/event/play/fuente-ovejuna-tickets
A true story and subsequent legend of a rebellion led by a woman in Medieval Spain, the play has become a symbol of worldwide oppression leading to one of the most memorable acts of resistance in world drama.
Lindisfarne will transport you to Spain in 1600 and it will be an experience you will not want to miss!
A ragtail travelling theatre troupe comes to the local village to perform the famous tale of Fuente Ovejuna, it is lead by the famous Rodriguez Sanchez de Toledo, if the audience arrives at 7.20pm you will be able to meet him personally and enjoy some pre-show warm-up before the performance starts.
An evil commander comes to the town and starts to mistreat its inhabitants it takes all the resolve the town has to fight back.
A true story and subsequent legend of a rebellion led by a woman in Medieval Spain, the play has become a symbol of worldwide oppression leading to one of the most memorable acts of resistance in world drama.
A colourful production with dancing and songs taking you back to Spain in the 1600’s.
We request you leave your mounts with the ostler.
Lindisfarne Productions will transport you to Spain in 1600 and it will be an experience you will not want to miss!
Tuesday 6th – 10th May nightly at the Dixon Studio, Palace Theatre, Westcliff on Sea with a Saturday matinee on 10th May.
Tickets £17.50/£16.50 from the box office or via the website: https://trafalgartickets.com/palace-theatre-southend/en-GB/event/play/fuente-ovejuna-tickets
CURTAIN CALL with Nick Jacobs, 54, from Westcliff on Sea, Essex
Nick will be playing the roles of Leonelo (a student) and Lord Manrique in the production
Nick will be playing the roles of Leonelo (a student) and Lord Manrique in the production
How long have you been a member of Lindisfarne? 10 years
Why did you join? I’ve always loved Amatuer Dramatics and I was also looking to make friends. The members of Lindisfarne were very welcoming, helpful and supportive and also very professional.
What was the last play/musical you saw? Waiting For God, East Essex players, very funny and well acted.
If you could play any role, what would it be? Fagin from Oliver, Roon Moody’s portrayal sticks in my mind and he played Fagin as such a funny and interesting character.
When not at rehearsals I can mainly be found… Walking along Southend seafront, sampling various ales and bitters :)
Tell us about the show in your own words It’s the story of a Spanish town that fights against oppression and it’s the women of the town who fight back initially and encourage the men to stand up and fight.
What is your favourite part of the show and why? I think the scenes where we are all singing together, there is a real sense of connection and passion onstage.
Describe your character in this production in 3 words.
Leonelo, honourable, brave, self-improver
Manrique, flash, pompous, loyal
How do you learn your lines? I read them every day and record them on my phone, listening to them most days. As I get older it does get harder to keep it all in my head !
Who is your favourite actor/actress? Ian McKellen, he’s such a great character actor, larger than life and also very kind and generous.
Have you ever had any stage mishaps/corpsed? In Ray Cooney’s ‘Runs in the Family’ I played against Lynda Belt who is great with physical comedy. The faces she can pull and the way she delivers her lines are just so hilarious and by the last show she had me in stitches. It didn’t help that the audience found me corpsing really funny, so I just lost the plot!
What’s your favourite dressing room item? Tea and biscuits!
What’s the best costume you’ve ever worn in a show? Manrique’s costume, the Director has created a large, blue velvet, stove-pipe hat, I bought a cloak to match and I’m also wearing sparkling silver boots! I’ll probably look more like an 80s rock star than anything else!
Why do you think people should see the show? Although there are some darker themes, the cast and the Director have worked hard to make it fun. We've also broken the ‘fourth’ wall, engaging with the audience and encouraging them to join in the fun whilst we’re singing and doing Spanish dancing.
Why did you join? I’ve always loved Amatuer Dramatics and I was also looking to make friends. The members of Lindisfarne were very welcoming, helpful and supportive and also very professional.
What was the last play/musical you saw? Waiting For God, East Essex players, very funny and well acted.
If you could play any role, what would it be? Fagin from Oliver, Roon Moody’s portrayal sticks in my mind and he played Fagin as such a funny and interesting character.
When not at rehearsals I can mainly be found… Walking along Southend seafront, sampling various ales and bitters :)
Tell us about the show in your own words It’s the story of a Spanish town that fights against oppression and it’s the women of the town who fight back initially and encourage the men to stand up and fight.
What is your favourite part of the show and why? I think the scenes where we are all singing together, there is a real sense of connection and passion onstage.
Describe your character in this production in 3 words.
Leonelo, honourable, brave, self-improver
Manrique, flash, pompous, loyal
How do you learn your lines? I read them every day and record them on my phone, listening to them most days. As I get older it does get harder to keep it all in my head !
Who is your favourite actor/actress? Ian McKellen, he’s such a great character actor, larger than life and also very kind and generous.
Have you ever had any stage mishaps/corpsed? In Ray Cooney’s ‘Runs in the Family’ I played against Lynda Belt who is great with physical comedy. The faces she can pull and the way she delivers her lines are just so hilarious and by the last show she had me in stitches. It didn’t help that the audience found me corpsing really funny, so I just lost the plot!
What’s your favourite dressing room item? Tea and biscuits!
What’s the best costume you’ve ever worn in a show? Manrique’s costume, the Director has created a large, blue velvet, stove-pipe hat, I bought a cloak to match and I’m also wearing sparkling silver boots! I’ll probably look more like an 80s rock star than anything else!
Why do you think people should see the show? Although there are some darker themes, the cast and the Director have worked hard to make it fun. We've also broken the ‘fourth’ wall, engaging with the audience and encouraging them to join in the fun whilst we’re singing and doing Spanish dancing.
Below: The cast in rehearsal
Photos: Malcolm Toll
Photos: Malcolm Toll
