BWW Reviews: Alliance for New Music-Theatre Takes on Kafka's Iconic METAMORPHOSIS

In partnership with the Embassy of the Czech Republic, the Alliance for New-Music Theatre is taking something familiar and making it a little more unique. Perhaps the most familiar of Franz Kafka's numerous stories, Metamorphosis - the story of the ultimate outsider - is one of those that's also ripe for theatricalization. Numerous adaptations exist and many more productions have been mounted whether here in the United States (including on Broadway) or around the world. In the case of this Alliance of New Music-Theatre production, Susan Galbraith brings us a lot of what we might expect, but with a few twists that somewhat set this production apart from others. It's not quite innovative and new, but it's not the same old thing either.

The familiar story probably bears no repeating here, but suffice it to say that young Gregor (Ari Jacobsen) is the primary breadwinner for the Samsa family - Father (an underwhelming and wooden David Millstone), Mother (Pamela Bierly Jusino), and his sister Greta (the effervescent and highly effective Lily Kerrigan) - all depend on him, the model son/brother. One morning, he turns into a giant insect and suddenly becomes an outsider in his suffocating home. The family - as well as Gregor - must consider what this means for their relationship and how to move forward. With the transformation, some family dynamics shift, but also serve to highlight divisions, attitudes, and personality conflicts that were already in place. While the macro level sociopolitical undertones in this production are less overt than in some others, Galbraith and company do well to focus on the effects of an ostracizing experience at a more micro level, which is also a solid choice.

A decision to not visually highlight Gregor's transformation into a vermin with an outlandish costume also keeps the focus on the socio-psychological impacts of the event and the aftermath. Gregor's inner-humanity is never lost. A strong mover, Jacobsen can contort and twist with the best of them, but he's also a very strong actor who delivers a convincingly moving performance that allows one to see Gregor's pain. He makes good use of Joey Wade's simple set - a ladder, a chair, and a few other basic objects - to move as an insect would, while still reminding us of his humanity. I did miss some of the more splashy scenic elements found in most productions of Kafka, though probably in part due to the otherwise humdrum, basic, and tedious staging when Gregor is not the focus. However, overall, the production makes the case for why a more minimalist approach can also work if there's a strong actor in the lead role as there is here.

Other elements make this production stand apart, but not always for the better. With early advice from Hugh Livingston (composer) - who became unavailable for the run according to the program notes - Galbraith, the actors, Yvonne Caruthers (cellist), and Alison Leadbetter-Hines (vocal coach and music consultant) set out to add a music element to the story. They incorporated traditional Jewish music and added an instrumental underscore. The underscore - as well as Neil McFadden's complementary sound design - proves particularly effective in showcasing the tumultuous situation and heightened emotions in the Samsa home. Caruthers, a retired cellist with the National Symphony Orchestra, plays onstage every night and, simply put, she's an extraordinary musician to watch and listen to in a theatrical setting.

A choice to sing some lines of Steven Berkoff's adaptation of the Kafka's story for the stage, however, left me more than a little perplexed. Several questions came to mind as the cast sang about getting food/drink from the kitchen. Why were these moments sung and not others? What was the artistic intent? What was the added value? I don't have answers to those questions and I would also add that the melodies employed weren't exactly the definition of sophisticated or even semi-decent composition.

A decision to employ animations (Janet Antich) inspired by Kafka's original drawings fares better artistically. While they are certainly not necessary to tell the already engrossing story, they do add value. For one, they tie us back to the original source. Second, they help introduce characters beyond the family in a way that still keeps the focus on the core unit. Not to mention, they are pretty fun to watch come to life as projections on the back wall of the theatre.

If this production is to move forward, there's a solid foundation from which to build. With a world premiere - and one like this that relies mostly on collaborative art - that's a step in the right direction.

Running Time: 90 minutes with no intermission.

Graphic: Courtesy of official website.

Metamorphosis runs at the Woolly Mammoth Theatre Company (Rehearsal Hall) - 641 D Street, NW in Washington, DC - through September 21. Tickets are available online.

To post a comment, you must register and login.