Live Arts' newest production, Metamorphoses, invites audiences to plunge into a world of ancient myths with a contemporary twist, with a word of caution -- get ready to get wet. According to director Steven Levine, the play, adapted from "Ovid" by Mary Zimmerman, portrays Greek myths that most people are aware of in their "cultural conscience." The stories of Midas and the Golden Touch are still resonant in our culture today, overlaid with warnings about the nature of greed and wealth.
Not only does the storyline seek to engage audiences in a thoughtful examination of the nature of the human condition, but the setting promises to sprinkle the audience with a refreshing surprise -- center stage has been transformed into a full-sized wading pool.
"The most unique aspect of this production is that it takes place in and around a swimming pool, which is not something that you generally have to deal with in live theater," Levine said. "It presents all sorts of challenges and opportunities for creative problem solving -- how to deal with it, how to ensure actor comfort and safety, how to ensure that the art gallery below doesn't suddenly have water pouring through their ceiling."
The installation and maintenance of the pool are some of the biggest obstacles of the production. Numerous businesses, including construction, engineering and spa companies have contributed to the erection of this wet oasis.
Not only does the setting require more patience and attention, but other aspects of the play must be molded to meet the challenges of working with water. Since every one of the 12 cast members is immersed in the pool at some point in the production, hair and makeup designer Daphne Latham must combat the liquid by requiring actors and actresses to don waterproof makeup. The inclusion of the pool, despite the challenges it presents, gives the play a refreshing sense of originality.
The creativity of this performance is not only visible in the set design but also in the effort the crew funneled into handcrafting many of the play's props. According to costume designer Damion Bond, approximately 85 percent of the costumes and the set are hand-built, distancing this production from the usual methods of buying, borrowing or altering many of the materials used. The uniqueness of these elements helps contribute to the mood that the play is attempting to recreate.
"Each set is designed specifically for the production to evoke images, metaphors, themes that we want to bring out in each show," Levine said. The background "is a juxtaposition of classical and contemporary, sacred and profane, and so what you see in this set are obvious references to classical Greece in the columns with the marble treatment. Then you've got these fire poles and a very contemporary-looking backdrop to bring out the themes and the ideas of this juxtaposition."
The set, which is created on two levels, looks like a house with an upper and lower level. Each level has three doors, which the cast members can use to return backstage. The upper level is meant to represent Mount Olympus, the home of the gods, and is reserved for their use and appearances in the performance. Using the fire-poles, they "fly" down from the heavens to intervene in the affairs of humans, in both positive and negative ways. By having a set structure with two tiers, stage manager and fourth-year College student Caroline von Kuhn said the cast is able to play to all audience members, whether they are seated downstairs or up in the balcony.
The pool, however, is the stage element that will draw most of the attention because of its central arrangement. While the activities centered around the pool will continue to captivate the audience, the cast and crew view the water on stage as more than just an aesthetic affect. Instead, the water holds underlying metaphorical importance for both the play itself and the cast. When switching to a different story, the water serves to link together the 10 different myths that are being performed. Kuhn said the play is meant to emphasize the role of water as a source of life and transformation.
"The water is used to pull each separate myth together," Kuhn said. "The play begins and ends with a ritual in which the water is used. Steven really encouraged each actor to share what the water meant to them so that its importance can come across in their acting."
In one of the play's stories, an actress enters the water as an old woman, only to emerge as a young child. The transforming force of the water gives the audience a glimpse inside the human condition, into our dreams and our aspirations, further emphasizing the timelessness of the play itself.
'Metamorphoses' will be playing from March 3-25 at Live Arts' Downstage. Tickets are $10-$17.
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