Metamorphoses @ Lookingglass *updated*

 

Tony Awards: Best Direction of a Play

Drama Desk Awards: Outstanding Play, Director, Lighting Design & Music

Drama League Awards: Outstanding New Broadway Play

Outer Critics Circle Awards: Outstanding Director of a Play

Lucille Lortel Awards: Outstanding Play

Time Magazine: Best Play of the Year (2001-2002)

METAMORPHOSES IS JUST GREAT. I had seen two productions prior to this legendary Lookingglass experience: a surprisingly decent 2007 production at the Artists Repertory Theatre in Portland, Oregon & an impressively noble 2010 community-theatre attempt @ The York Little Theatre in York, PA. Both were quality productions, but neither held a candle to this somewhat historic theatre experience. Mary Zimmerman is a professor at Northwestern & Lookingglass ensemble member. In 1998, Lookingglass opened their season with Metamorphoses.  It received critical acclaim & the production traveled to Berkeley Repertory Theatre & Seattle Repertory Theatre. In the fall of 2001, Metamorphoses opened Off-Broadway at Second Stage Theatre. It’s rave reviews & new commercial investors allowed the show to move to Broadway (Circle in the Square Theatre) in March 2002, where it ran for almost a year. It has been 14 years since Metamorphoses debuted at Lookingglass; I can think of no better way to start their 25th season than with this awesome & exciting production. 

ZIMMERMAN'S SCRIPT thematically centers on change & the cost, challenges, & unforeseen outcomes that can come from achieving one’s goals. This script defines timelessness by incorporating Ovid’s stories from 8 A.D. with morals & applications that equally apply to the audiences of yesterday, today, & tomorrow. Some things never change & the crazy challenge of conquering a huge life-change seems to be one of them. Zimmerman got it right when she said: "Change felt so soul destroying and…I was so frightened of what was going to come. And I sort of couldn’t stand the state I was in; I wanted to be through with it…through the moment of metamorphosis [which] is so excruciating, but then it can produce something new." 

THE CAST: If I had to pick one word to describe the cast it would be strong. They exhibited the confidence to boldly tell these bold tales, the flexibility & physical strength demanded by the stories, the ability to maintain consistency in performing different roles, and a clearly-grounded, thoughtful understanding of the text. Raymond Fox is a versatile actor whose charming nature infused every role; whether he was bumbling, obsessing, or rowing in the background, his presence onstage was always a highlight. Anne Fogarty provided solid, subtle, feminine presence who seamlessly interacted with the rest of her cast.  Anjali Bhimani also provided a necessary feminine presence as the actress who undertook the most youthful roles; she had an ageless beauty & astounding physical strength. One of my favorite moments in the show was her spastic, haunting portrayal of Hunger (picture Samara from the Ring). Lawrence E. DiTasi & Louise Lamson both stood out with languid physicality & striking stage presence. As Alcyon, the widow who turns into a bird, she was elegant & lovely while still portraying the impassioned waiting widow. Lauren Orkus was effervescent, so pretty, & had loveliest lilt in delivering her lines. I also loved Marilyn Dodds Frank’s distinct, gravelly voice, Chris Kipiniak’s seasoned performance quality, Usman Ally’s intensity, & Doug Hara’s fun, post-modern energy.  This cast worked as a strong unit while still maintaining their individuality. The rich history of this play & its’ performers & production staff partly factor into these high-quality performances.  In an interview with Lookingglass Literary Manager Marti Lyons, Zimmerman said: “…because I have so many of the same people returning and because all actors, if they were ever good, get better with age, I’m really looking forward to the deepened experience, connection & ability, and to see how the performances change under the weight of all these years. It’s one thing to see a bunch of kids doing these myths, ti’s another thing to see 45 year-olds do it - it has a gravitas to it - and almost a strangeness - that I’m looking forward to. The show is sort of a touchstone in our lives. Three cast members have been off and on since they were 21 or 22 years old and 3 marriages among various cast members came out of this show: Raymond Fox & Anne Fogarty, Phil Smith & Louise Lamson, and Erik Lochtefeld & Laura Eason. Out of these marriages, there are 4 children.”  

[Marilyn Dodds Frank, Raymond Fox, Anne Fogarty, Anjali Bhimani, Lawrence E. DiStasi, 
Louise Lamson, Lauren Orkus, Usman Ally, Doug Hara, Chris Kipiniak]

THE COSTUME DESIGN [crafted by Mara Blumenfeld] was pretty much pitch-perfect. Her design concept incorporated the necessary & sufficient sense of continuity while still making the costumes distinct to their respective story. The common threads threading the costume design together were innovative silhouettes, bright & brilliant colors, and clever attention to details. It did seem like there was more attention spent on the women’s costumes than the men’s (especially in the fabric choices). This had to be especially difficult production to costume considering these costumes had to be strikingly gorgeous, timeless & contemporary, and work well/look good while still wet [talk about an awesome Project Runway challenge]. 

Some highlights: Orpheus’ classy & contemporary conductor tails, the wiry alphabet constellation cap atop Morpheus/The God of Dream’s head, Hunger’s creepy pantyhose cap,  a skirt lined with Christmas lights, Euridyce’s perfect wedding dress with a simple grey shear beauty pageant sash, the consistent incorporation of men in stylized, high-waisted, belted skirts, and [my personal favorite] Alcyon’s gorgeous seafom, lace-enlayed, empire-waisted dress.

THE SET was stunning & simple; scenic designer Daniel Ostling presented concise design, pristine imagery, & calm background for the chaotic action it housed. He also had a peculiar challenge in this project considering the set is a pool. It consisted of a central pool with the audience sitting on three sides, a runway around the perimeter & a stationary double-floored back-wall anchoring the action. The pool sort of became a character itself & served as a chameleon background for the different stories: we had women washing in the river, men rowing in the ocean, a millionaire lounging on a floatie backyard, fierce fighting in the angry ocean (complete with tiny boats), the shore for a widow to wander, etc. I also think there is a weird little sense of interesting irony in this particular set seeing as they built a pool in a theatre that is housed water-pumping station. The literal/structural contrasts behind history, coincidence, & interpretation provided a cool mirroring effect of the message of the play itself.