This was a double production in which Lorca’s play La zapatera prodigiosa (The Shoemaker’s Wonderful Wife) also featured.
This was a double bill also featuring Quimera, a little-known work by Lorca.
This production toured Spain. It began with a live performance of guitar music based on a tune recorded in 1933 featuring Lorca on piano.
Detailed information about this production is available by clicking on the Amor de Don Perlimplín section of the director José Luis Matienzo's website.
This production had a simultaneous English translation. It was a reconsideration of the play from the perspective of Belisa.
This production was performed over three days in Spanish with English surtitles (translator unknown).
The strong central performances in this production were praised, as was the musical score. The reviewer for Theatre Guide London noted that the production captured ‘both the play’s whimsy and high passions beautifully’ (Berkowitz 2005).
Berkowitz, Gerald. 2005. Review of Don Perlimpín con Belisa en su jardín at the Arcola Theatre, London, Theatre Guide London, http://www.theatreguidelondon.co.uk/reviews/edinburgh%202005-1.htm [accessed January 2010] (Online Publication)
This production was performed in Spanish with English surtitles (translator unknown).
This production was performed in Spanish with English surtitles (translator unknown).
The critic Javier Villán favourably reviewed this production. He was very impressed by the flamenco singing of Antorrín Heredia, the actor playing Don Perlimplín (Villán 2008).
Villán, Javier. 2008. Review of Don Perlimpín con Belisa en su jardín at the Sala Tribueñe, Madrid, ‘Lorca erótico y flamenco’, El Mundo, 3 June (in Spanish)
These were rehearsed readings of the play.
This long-running production foregrounded parallels between the life of García Lorca and the character of Don Perlimplín. Radio programmes from García Lorca’s lifetime were broadcast during the performance to emphasise the relationship between the play and the actual experience of the playwright. The play featured puppets.
This production is in Spanish, performed by a mix of UK and Spanish actors. More information on the production can be found on the Théâtre sans Frontières website.
Gwynne Edwards comments that the play shocked British audiences of the 1940s and early 1950s because of its sexual subject matter. He notes:
Howard Goorney, who played Don Perlimplín, has noted that ‘Some were so disgusted they crossed the street to avoid me. . . . I suppose it’s not surprising that in that time and place some people were disturbed by an old man’s obsession for a woman young enough to be his daughter.’ (Edwards 2009: 56)
Edwards, Gwynne. 2009. ‘Theatre Workshop’s Translations of Three Spanish Plays’, New Theatre Quarterly, 25.1, 52-62
This was a long-running touring production by the Theatre Workshop, going to London, Kendal and Edinburgh. The translation of this production is not attributed to anyone. However, Gwynne Edwards notes that it is doubtless that of James Graham-Luján and Richard O’Connell published in 1941 (Edwards 2009: 56).
Edwards also outlines the musical choices made for this production:
Lorca’s text called for piano music in relation to Belisa’s first appearance, for guitar music as an accompaniment to her sexual longing, and for the garden scene to be a serenade, while in the Madrid production he introduced sonatas by Scarlatti. Littlewood’s choices were rather different, with flamenco underpinning Belisa’s eroticism, a grave pavane the dignity and seriousness of Perlimplín, and the music of Manuel de Falla the tense drama of the final scene. (Edwards 2007: 312)
Edwards, Gwynne. 2007. ‘Theatre Workshop and the Spanish Drama’, New Theatre Quarterly, 23.4, 304-16
Edwards, Gwynne. 2009. ‘Theatre Workshop’s Translations of Three Spanish Plays’, New Theatre Quarterly, 25.1, 52-62
This production was of two of Lorca's plays: La zapatera prodigiosa (translated as and performed under the title The Cobbler's Wife) and Amor de Don Perlimplín con Belisa en su jardín (translated as The Love Between Don Perlimplin and Belisa, in his Garden Green. An Erotic Cartoon in Four Scenes and performed under the title Don Perlimplin). Victor Dixon translated and directed The Cobbler's Wife. In the case of Don Perlimplin, Ray Barron directed the performance based on Victor Dixon's translation.
During the performance of Don Perlimplin, the play's translator Victor Dixon introduced the play by showing reproductions on screen of pictures of the aleluya that Lorca based the character of Don Perlimplín on. Dixon showed these accompanied by comic rhyming couplets.
During the performance of The Cobbler's Wife, the play's translator and director, Victor Dixon, appeared as 'The Author' in a Prologue, introducing the play.
This production was part of the ‘100 Years of Sex Acts’ series by the Eastenders Repertory Company.
One reviewer was impressed by the lasting impact of this production, writing:
Whether you grasp every detail of Lorca's illusory tale is unimportant. Like a haunting dream or nightmare that is so strong you can’t forget it, what counts is its cumulative effect: dramatically, visually, viscerally and emotionally. (Gottlieb 2006)
Gottlieb, Shirley. 2006. Review of Don Perlimplín and His Love for Belisa in His Garden at the Studio Theatre, Long Beach, http://www.davidzinder.com/Reviews_5.html [accessed February 2010] (Online Publication)
In this production the two Duendes or Sprites were increased to four. The play incorporated fragments of Lorca’s poetry as well as quotations from his other plays. David Zinder used a combination of the 1963 edition of the translation of the play by James Graham-Lujan and Richard O'Connell and the translation by Gwynne Edwards.
García Lorca, Federico. 1963. ‘The Love of Don Perlimplín and Belisa in the Garden: An Erotic Lace-Paper Valentine’. In Five Plays: Comedies and Tragicomedies, trans. James Graham Lujan and Richard L. O’Connell, pp. 105-30. New York, New Directions Publishing
García Lorca, Federico. 1990. ‘The Love of Don Perlimplín and Belisa in the Garden: An Erotic Print in Four Scenes’, in Plays: Two, trans. Gwynne Edwards. London, Methuen Drama
This production was staged alongside a production of The Jealous Lover by Miguel Cervantes, also translated by John O’Neill. The production was presented by the Department of Spanish and Spanish American Studies, King’s College London.
The company that staged this, Ksec Act, is Japanese. The production was in Japanese but also had Spanish surtitles.
Entry written by Gwynneth Dowling. Last updated on 12 May 2011.