Mary Zimmerman's 'Metamorphoses' at the Arden (second review)

The play, directed by Doug Hara, is set around and in a pool of water into which the characters wade, plunge, and submerge with little regard for their costumes, which seem to dry miraculously between scenes (the actors dry off and change between appearances). It is a mystical, magical set designed by Brian Sidney Bembridge, with gods appearing on a platform above the stage and sometimes descending to woo or test the humans who dare to challenge their rule. A chandelier sparkles above the scene and eventually candles float on the water in lighting design by Thom Weaver.

Some of the stories are familiar: Midas (Christopher Patrick Mullen) and his golden touch, which turns his daughter (Leigha Kato) to gold; Orpheus (Sean Bradley) pining for Eurydice (Clare O’Malley), who is lost to him because he dared to look too soon. Some are not: Vertumnus (Brandon Pierce) wooing the nymph Pomona (Alex Keiper), Erysichthon (Lindsay Smiling) daring to cut down a tree sacred to Ceres and suffering from excruciating hunger as a result. All surprise us with their relevance even after all these years.

Similarly, there’s a mix of stories with happy endings (which may mean the lovers die simultaneously, or turn into entwined trees or fly off as sea birds) and those without (Orpheus never does rejoin Eurydice). Themes start to emerge about vulnerability in love or the dangers of looking too closely at love.

The play is structured around a series of storytellers, each recounting a myth to someone else as actors portray the characters, sometimes speaking, sometimes not. The company functions as an ensemble, with most actors taking on several roles. The narrators move the story along, often explaining the meaning of the myth rather than letting it carry its own message. While the production as a whole is engaging, the acting sometimes feels stilted — perhaps being submerged in water is not the best environment for dramatic performance.

There seemed to be more possibilities for humor than emerged in the production. The character’s absurd actions are taken a bit too seriously, although the audience was willing to laugh when given the opportunity.

Staging that’s all wet

This is a captivating production, but what’s with all this water on stage? I know water is supposed to be a metaphor for the subconscious, but must it always be this literal? Phaeton (Steve Pacek) sitting on a float in the middle of the water talking to his therapist about his relationship with his father Apollo was more than obvious. Toy ships capsize in a storm, while other characters seem to literally drown in the pool, emerging when the lights dim.

In the past year and more there have been several productions that highlight the use of water: Water by the Spoonful at the Arden had streams of water running across the stage, Ivo van Hove’s Bergman-based After the Rehearsal/Persona as part of the 2015 Fringe Festival surrounded the stage with water, and Theatre Exile’s Red Speedo (which I did not see) had a swimming pool on stage. Inis Nua Theatre Company’s Penelope took place in and around a dry swimming pool, and The Hairy Ape at EgoPo Classic Theater had buckets of water pouring down on the actors.

Water on stage is one of those unnatural cohabitations, and that is perhaps part of its fascination. Things can happen on water that can’t on dry land — at least not without injury to the performers. As environment and physical performance become integral to play production, actors are challenged to not only find the truth in a character but also to cope with environmental challenges posed by the set. Are we demanding new and different at the expense of depth and authenticity?

For Frank Burd’s review, click here.