When Ovid penned "Metamorphoses" in the first century A.D., it is unlikely he anticipated Beyonce's "Diva" serving as part of its soundtrack. Yet that is exactly the flavor director Mark Brown '09 has chosen for Production Workshop's rendition of "Metamorphoses," playwright Mary Zimmerman's contemporary adaptation of the Roman classic.
The work, which was nominated for a Tony Award for Best Play in 2002, includes vignettes from 11 myths, all of which involve gods and demigods and their influence on human interactions. It is performed by an ensemble cast, and Brown chose to stage it as theater-in-the-round, making good use of the downstairs black box.
Brown said the play portrays "love in its various forms," whether it is directed toward a parent, a lover, a stranger or oneself. "Metamorphoses" draws on themes of greed, faith, lust and betrayal - elements that were as relevant in our day as they were in Ovid's.
While Zimmerman's adaptation remains fairly true to the canonical myths - perhaps with the exception of a dialogue between the angst-ridden teen Phaeton (Justin Kuritzkes '12) and his therapist (John Racioppo '11) - the script also left Brown's team with the liberty to blend ancient and modern. The costumes, for instance, are colorful, toga-like garments for most characters, yet King Midas (Racioppo) sports a gold dollar-sign necklace and a gangster hoodie.
Brown also chose to deviate from the original production in scrapping the shallow on-stage pool that the action revolved around when the play ran on Broadway. He said he knew from the beginning that he would not incorporate the pool into his version.
"It's a logistical nightmare," he said. "It's pretty, but it takes away from the story. I want you to focus on the actors. I want you to focus on the stories."
He said everything the pool achieved could be conveyed through lighting, and the audience members would understand the concept without having everything laid out for them. Not having to worry about the pool, he said, "freed me up to do the actual play."
When it came to drawing the line between what would be portrayed on stage and what would be left to the imagination, Brown said he relied heavily on the actors.
"I can't stress enough how much my actors help in that regard," he said. "For that, I will always sing their praises."
The actors are certainly talented enough to pull off Brown's vision. Particularly good performances are given by Lauren Neal '11, who is effortlessly funny as Erysichthon's mother, and by Liz Rothman '11, the commanding Aphrodite and graceful Psyche. Tess Avitabile '11 presents a convincing depiction of Hunger, appropriately reminiscent of Gollum from "The Lord of the Rings." Racioppo, as Phaeton's therapist, delivers a philosophical discourse on the relationship between myth and dream with an air of grandeur. The musician Orpheus, played by Brandon Chinn '09, beseeches the king and queen of the Underworld to restore his newly married and newly deceased Eurydice, and he draws the audience into his desperate grief, subtly shedding real tears during his plea.
The entire show is thoroughly enjoyable because of its narrative aspect, universal threads and especially its moments of comic relief. Brown, who intentionally sought to bring the dance and theater worlds closer together with this production, renders the play in an elegant and entertaining fashion.
This is most evident in the vignette of Cupid (Chinn) and Psyche, which Brown said is his "love child for this entire process." In this scene, the two lovers dance balletically while two other characters narrate the myth and give voice to the nature of love.
Brown said he chose this play in an attempt to combat the harshness of modern theater, and that he hopes the audience will find it accessible rather than alienating.
"This isn't heavy-handed stuff," Brown said, "and I'm fine with that."
"Metamorphoses" runs Fri., March 6 through Mon., March 9 at 8 p.m. every night, with a special midnight performance Sat. night. Tickets are available on PW's Web site and at the door.
