This is a review* of the play* "Metamorphosis", based on Kafka*'s book of the same name*. (@@ convert to html)
Metamorphosis, based on Kafkas seminal work, is an ambitious new play at the Lookingglass Theatre in Chicago. The actors are impressive, performing at times with such raw physical emotion you cant help but be drawn in. The staging, creatively using few props on a sparse stage, is superb; the script, however, leaves something to be desired. The play is performed without a curtain or intermission on an incredibly large proscenium stage. There is a sparse set, consisting mostly of a large transparent cage on wheels and several rolling stools. Rain falls noisily from the ceiling in the back, setting the mood for the performance. The play starts as a man in a dark suit emerges from the audience and sets his briefcase down on the stage floor. He throws a large switch, sparks fly, and all goes black. However, the story goes downhill from there. The actors depart from Kafkas original work, starting their performance long before Gregor Samson undergoes his metamorphosis. And instead of Kafkas straightforward and simple prose, the story moves backwards and forwards in time, interweaving complex plots and subplots. Gregors relationship with his family, especially his father, is featured heavily, and a quotation from another of Kafkas works, Letter to his Father, is included. The actual metamorphosis, however, is treated quite interestingly. As Gregor slowly becomes a dung beetle, the actor, instead of wearing more costume, wears less. He removes his coat and tie, leaving only a white suit. In time, part of this too is removed, leaving the actor bare-chested. However, like most of the performance, such simplicity added, rather than subtracted, from the effect. Gregors performance was quite physical, with the actor literally climbing around the room and the stage. As there was no curtain or intermission, the actors demarcated sections by rotating the set. Since everything was mobile, this was quite easy, but nonetheless an interesting theatrical decision. However, this ruined whatever feel for the locations the audience may have developed, and the actors took full advantage of this fact. When they spoke to another , they often chose not to face them, instead staring hard at an imagined actor. This gave the stage an almost fractal feel, with words going off one end and seemingly rounding the stage to reappear on the other side. The actors would often leave the plot to enter an almost dream-like sequence: the lights would shine different colors; strange projections would surround the stage; words from above kept repeating and echoing around the room. The actors were incredibly physical, jumping and climbing on one another, and running about the theater, dealing with both real and imagined elements of the scene. These scenes were quite long and rather repetitive. They very much ruined the flow of Kafkas story. The ending however, was true to the original, and just as sad as always. It is almost as sad, however, that the rest of the play couldnt be as good.
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