One might apply the term “high season” to UC San Diego’s theater and dance department. Earlier this month they produced one of the year’s best theatrical productions in “Topdog/Underdog” at the Arthur Wagner Theatre, and then severely tried the theatergoer’s patience with the dance/theater conflation “Sexual Selection” (just closed) at the Mandell Weiss Forum. Now playing through Nov. 29 at the Theodore and Adele Shank Theatre (the former Forum Studio Theatre), Chay Yew’s adaptation of Federico Garcia Lorca’s final tragedy (1936), “The House of Bernarda Alba” is another test of one’s theatrical dedication. Directed by second-year MFA student Jeffrey Wienckowski, the work features five black-clad MFA students and one first-year graduate student as Bernarda and her daughters. They are Natalie Birriel as Magdalena, Maren Bush as Martirio, Maritxell Carrero Galarza as Bernarda, Sara Garcia as Adela, Megan Robinson as Amelia and Taylor Shurte as Augustias. Bernarda Alba’s second husband has died. The eldest daughter, Augustias, inherited money from her father, Bernarda’s first husband, and so she is courted by Pepe El Romano (dancer Abel Valdez, who does not speak), and who is in turn loved by Adela and Martirio. After the funeral, Bernarda declares an eight-year mourning period and locks down the house, inhabited as well by her aged mother (Heather Ramey) and two servants, Poncia (Anne Stella) and Blanca (Erin Bennett). Bernarda decrees that all must wear black. Adela defies the order, in one scene of this production appearing in a red dress and declaring she will run through the streets in it. Her sisters restrain her. Emotions are restrained as well, but sexual tension runs high, resulting in violence and tragedy. The organization of Lorca’s poetic text is fine, but much is missed because Wienckowski allows (encourages?) his actors to yell. At one, two-hour slog, the production makes a long evening. In addition to the over-stressed voices that bounced off the theater walls, obfuscating diction, there is a cacophony of bells and stomping of the male, who represents Pepe and the restless Alba stallion. All the folderol is overkill. Lesson: The text must to be trusted. Sohhee Han’s period costumes are wondrous, especially Bernarda’s black lace with bustle and Adele’s red defiance. Colin McGurk creates a set that plays on platforms in various locations, undoubtedly causing those on the sides neck convolutions. McGurk uses immense white papel picado (cut paper) hangings to represent the descent of the window curtains. Stephen Siercka’s lighting scheme is effective, Aylssa Ihii creates the sound design. Next up at UCSD department of theatre and dance is Tennessee Williams’ “Camino Real,” Nov. 23 through Dec. 6 in the Sheila and Hughes Potiker Theatre. UCSD utilizes the Theatre District, which it shares with La Jolla Playhouse. Additional information may be found by calling (858) 534-4574 or at http://theatre.ucsd.edu/season.