Images © EddiIf the oxygen breathed through the body and heart of a sensitive child was made of pretence, by young adulthood it seems appropriate they’d grow a cocoon, as did Gregor Samsa in Franz Kafka’s The Metamorphosis, compellingly staged in this co-production between Iceland’s young Vesturport and the UK’S 100-year-old Lyric Hammersmith, with music by Nick Cave and Warren Ellis.
In a 1930’s double story middle class home (resonating with Ibsen’s Doll’s House), one morning Gregor wakes up with his body transmuted, which is a shock for him and a disgusting horror for his family.
The set, conceived by Co-Adaptator and Director Gílsi Örn Gardarsson, (who also plays the role of Gregor) is dramatically realised by Designer Börkur Jónsson. Downstairs is the comfortable family dining/living room, whilst upstairs Gregor’s bedroom is a manifestation of himself: with an inverted point of view – the force of gravity landing on the back wall. A staircase connects the two, where much action takes place.
Gardarsson’s performance as Gregor is phenomenal. His physical strength and gestural sensitivity makes it look easy for him to manoeuvre the entire house upside down, adding to our belief in his altered reality.
The Co-adaptation and direction with David Farr, brought about a sassy decision when devising the treatment of Gregor’s character. For the audience Gregor looked and sounded ‘normal’. He wore a suit and his dialogue was audible. It was through the reaction of others that we learn how grotesque he’s become. At times their revulsion was so strong an imaginary stench filled my nostrils.
The deliberately stylised acting easily found its rhythm, accentuating the tension and was well handled by Nina Dögg Filippusdóttir as the sister, Edda Arnljótsdóttir as the mother, Ingvar E Sigurdsson as the father and Jonathan McGuinness as Herr Stiethl and Herr Fischer. There were wonderful acting moments when the farcical became comical.
The father, who exploited his son from before the metamorphosis, refers to him as “That”, and physically and mentally whacks him. His mother responds to her maternal instincts to enter his bedroom, but collapses. His sister initially tries to help by bringing mouldy food and invites him down for dinner, but eventually she turns, she can’t stand the “ni ni ni ni ni…” sound he makes, stops feeding him and also refers to him as “It”.
How do families deal with the oddities in their nest? In this case and in this era they shun them - and pretend. Through powerful use of symbolism with household props and costumes, and striking lighting moments by Björn Helgason this is cleverly emphasised.
Ironically, as chaos and anarchy came into the household, the household became normal.
Thanks to the theatrical form and realised through this cocktail of imaginations that we could ‘lush out’ with such a visually beautiful ending. I left with a sadness, a comfortable melancholy from this wonderful and stirring production, humming the music.
Ten Days on the Island presents a Lyric Hammersmith and Vesturport Theatre production
METAMORPHOSIS
Adapted & Directed by David Farr and Gísli Örn Gardarsson
HOBART
Theatre Royal, 29 Campbell Street
26 March at 7.30pm - Preview
27 March at 7.30pm
28 March –1 April at 8pm
Duration: 1hr 25mins (No interval)
Tickets: Premium $65, A Reserve $55, B Reserve $44, Concession $38
Gallery/C Reserve $28, Concession $23
Bookings: www.tendaysontheisland.com
Lucy Wilson Magnus
This review is part of arts@work’s Critical Acclaim program, designed to increase critical analysis of the arts.
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