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Barbara Loots
Mary Zimmerman’s METAMORPOSES: A PLAY, based on David R Slavitt’s translation of Ovid’s The Metamorphoses, is currently onstage at the Baxter Theatre until 14 September 2024.
Zimmerman’s vision has strong philosophical and academic undertones, which are clearly embraced in a considered manner without overshadowing the storytelling appeal at the centre of it all. Although Zimmerman even acknowledges the influence of Sigmund Freud on her play, she has balanced these inspirations to produce a well melded, entertaining play, that gives much food for thought, but never feels laboured.
That being said, METAMORPHOSES is by no means an always cheerful romp through the Elysian Fields. It has gravitas, rooted in honest reflection of sorrow caused by the emotional and moral shortcomings of people, starkly opposed by the scarcity of true love and happy endings. That hum of heaviness that is ever present under the surface of the play is cleverly offset by sprinklings of humour as the tales unfold.
Whilst dealing with heavy themes, METAMORPHOSES provides ample opportunity for carefully crafted lighthearted indulgences at just the right moments. The text maintains a poetic resonance throughout, even when amplifying the antics of the gods. So informed, Zimmerman’s METAMORPHOSIS is an anthology of ancient myths with modern touches superimposed on it, in a manner that does not dilute the poetic appeal of the classics.
Change (whether in appearance or attitude) and the emotional evolution of humankind and gods alike, appear to be the golden thread that runs throughout the collection of well-known stories, examining the overarching themes of greed, lust, love, and despair.
The playwright’s opening monologue comes by way of a Grecian Woman, painting a solitary figure as reflected in Zimmerman’s stage directions: “A women kneeling by the side of the pool, looking at her own reflection. She looks up and addresses the audience.” Considering the specificity of that note, it feels as if Zimmerman wanted the Woman to be the initial dramatic focal point; the first interaction the audience has with her play.
Through the first word uttered by the solitary Woman, you are drawn into another realm where reality is suspended, one where words divulge destiny: some fated, some feared, and occasionally some blessed with the effervescence of love. This circle then grows to include next a Scientist with his words of chaos, followed by the weighted appearance of Zeus to address the concept of creation. And so the scene is set for a journey of destiny and deceit to unfold.
Director Steven Stead has however chosen to start this latest staging of Zimmerman’s play in a more muted manner. The audience’s first engagement with the METAMORPHOSES world is even before the play has truly started, by way of a pre-set: Three laundresses (who show up throughout Zimmerman’s play as narrators at key moments) are seen mopping a deck encircling a mass of water. That directorial choice feels contrary to the poetic resonance of Zimmerman’s Woman as first audience encounter. The choice to lead with a pre-set in such a manner acclimatises the audience in a manner that mitigates the potential drama of the opening monologue. This choice arguably impacts the overall tone of this current production as far as audience experience is concerned.
Although I generally like the current, sleek staging of METAMORPHASIS, some of the choices made deflate its poetic and dramatic impact. This I found mainly to happen in moments where the humour feels forced, where it is dressed up with cheesy South Africanisms that make the jokes feel out of sync with the general tone and voice of the play. Such add-ons feel unnecessary in a text that has ample humourous opportunities woven throughout. The question should be one of delivery, not one of adaptation.
That Zimmerman wants her play to be staged within her clearly envisioned parameters is evident when taking into consideration her design instructions. To make sure that the aesthetic and feel of her vision is accurately reflected wherever staged, she provides a kind of blueprint that calls for a pool at the centre of it all, surrounded by a deck with numerous entrance points to assist with seamless movement as one tale morphs into the next with the aid of music and lighting. The Baxter’s creative team has clearly showed due deference to Zimmerman’s design directions in giving expression to her ideas. The design elements not only look impressive, but also work well practically, to add an additional element of drama that amplifies the text.
Overall, the cast also functions as a well-oiled theatrical unit, with a good understanding of the natural flow that links characters and context together as they walk you through the tragedies suffered by Midas, Alcyone and Ceyx, and Erysichthon straight into the realm of hope that lives eternal in the love that fuels the telling of Eros and Psyche, and Baucis and Philemon… but always with a warning that one’s fate can change at the whim of the gods.
As someone who loves delving into the myths surrounding Greek and Roman deities, seeing such stories play out in front of me, in the considered setting of this current staging of METAMORPHOSES, made for a generally enjoyable night at the theatre.
With water being the chosen vessel that sets the fluid scene for the godly shenanigans that unfold in METAMORPHOSES, you may find yourself in a more interactive setting than anticipated if you wish to take a front row seat. The first row is however provided with some ponchos to shield them from the splashing affair. But if you choose a seat in the second row, you will find yourself sans poncho and wiping your face down a few times. So, if you are not keen on such, I would recommend booking a seat towards the back of the intimate space that is the Baxter’s Studio Theatre so you can view the gods play dare with the life-strings of mere humans, safely distanced from Poseidon’s realm.
I would recommend METAMORPHOSES to those who like indulging in myths and legends. It runs at the Baxter Theatre until 14 September 2024, with tickets available for booking through Webtickets.
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