Metamorphoses, Folger Theatre, Washington, DC

 

The Water Nymph (played by Miss Kitty) introduces us to the mythical tales of Ovid in Mary Zimmerman's Metamorphoses, on stage at the Folger Theatre, May 7-June 16. Photo by Brittany Diliberto. 

Storytelling pre-dates language, back to the days when primitive men drew pictures on the walls of caves or “acted” physically in order to share their “stories” with others. Every civilization has had some form of storytelling. Before the written word, stories were shared orally.

Sharing experiences is one purpose of storytelling, but there are many more: storytelling passes on history, tradition, customs, and morals; it is used to teach and attempt to explain the unexplained. Whether we call them myths or folk tales or fairy tales, storytelling is universal.

Mary Zimmerman’s Metamorphoses, based on the myths of the Roman poet Ovid from the translation by David R. Slavitt, collects many (but by no means all) of Ovid’s tales from his masterwork of the same title, dated from the very early first century C.E.

Most scholars date the origins of theatre as we know it to the Greeks during the 5^th century B.C.E., combining elements of ritual, language, dance, and music in order to tell its stories. What Zimmerman does in her play, especially as staged at the Folger Theatre by director Psalmayene 24, is to combine these two ancient traditions on the stage of a theatre in an Elizabethan style for a 21^st century audience. Familiarity with some of the myths may be helpful but is not necessary in order to understand and enjoy one of the most visually-engaging productions I have seen on the D.C. stage.

The cast of Mary Zimmerman's Metamorphoses on stage at the Folger Theatre. Photo by Brittany Diliberto.

There are two significant differences between this and the original productions of Metamorphoses, directed by Zimmerman. First, the original productions (including the 2002 Broadway production, for which Zimmerman won a Tony as Best Director) featured at least one pool of water on the stage. Water is a recurring feature in many of the stories, due to its transformative and/or cleansing properties. Here it is suggested by an oblong mirror on the floor at the center of the stage. At times, actors use undulating motions to reinforce the image of water.

The second difference is that the production is staged with a cast made up entirely of Black actors. It seems to me that this decision gives the production permission to utilize African and Caribbean motifs in music, language, and movement. Also, by combining traditions from ancient Greek and Roman texts, the text emphasizes the universality of the material. While those ancient cultures may “own” their originations, the ideas and emotions evoked are timeless and are validated here for contemporary cultures and people of all ethnicities. This was particularly emphasized by the final scene, in which two gods, disguised as beggars, are turned away when they attempt to visit well-to-do characters but are welcomed by two of modest means. The poor couple share what they have with the gods, reinforcing the primacy of the “Golden Rule,” a form of which has been shared by numerous cultures and religions through the centuries.

Cast sings "King Fisher" song in Folger Theatre's staging of Metamorphoses. Pictured top: DeJeanette Horne and Billie Kershawn; bottom (L to R) Manu Kumasi, Kalen Robinson, and Yesenia Iglesias. Photo by Brittany Diliberto.

The setting for the production (designed by Lawrence E. Moten III) is in the symmetrical style of the Greeks, dominated by a balcony over the façade of a palace, with curved staircases on either side. Bathed in blue light, the cast enters to begin a ritualistic dance with African and Caribbean overtones. Their costumes are similar but different, establishing this group as a “tribe” as they slip into and out of turns as narrators and characters, taking on a wide variety of roles as the evening unfolds. Movement is fluid and continuous, so it is difficult (and unnecessary) to determine where the work of director Psalmayene 24 or choreographer Tony Thomas begin and end.

Costumes designed by Mika Eubanks, lighting designed by William K. D’Eugenio, and wig and hair design by Rueben D. Echoles contribute to the unified visual presentation, and Nick tha 1da Hernandez’s sound design and music complete the aural presentation. I don’t know whether or how much the play’s dialogue was altered in order to “fit” the new concept, but it all appeared seamless.

Jon Hudson Odum as Midas in Metamorphoses. Photo by Brittany Diliberto.

Because cast members play numerous roles, as well as narrating portions of the play, I found it difficult to determine who was playing which characters. For example, Billie Krishawn, whom I admired in earlier productions this year at Arena Stage, Ford’s Theatre, and Woolly Mammoth, is listed in the program as “Second Woman; Eurydice and Others.” The cast was uniformly committed and in sync, making it difficult to single out any of them. One of the most often-recurring characters, King Midas, is played by Jon Hudson Odom, full of bluster and power. Midas regrets getting his wish (that everything he touches turns to gold) and nevertheless journeys to “the ends of the earth” to change the result after touching his daughter and turning her to gold. DeJeanette Horne and Gerrad Alex Taylor make a jovial pair as Zeus and Bacchus. It was good to see Yesenia Iglesias and Renea S. Brown, whom I enjoyed in Arena’s productions of POTUS and Tempestuous Elements, respectively.

Similarly, I had seen Studio’s Good Bones, a much more traditionally-structured play also directed by Psalmayene 24, whose directorial versatility and creativity is on full display here. Metamorphoses is a brisk 90-minute performance by a talented cast of 12 providing a vibrant, unified theatrical experience to be enjoyed and remembered. This is storytelling at its finest.