Adapted by the GreyZelda Theatre Group from the Muir translation of Franz Kafka's novella
GreyZelda Theatre Group at Stage Left Theatre, 3408 N. Sheffield, Chicago
Phone: 齅) 267-6293; $15
Runs through: Sept. 11
Pity those who see GreyZelda Theatre Group's Metamorphosis without ever having read Franz Kafka's original novella. Not only have they missed out on a great piece of 20th century literature, but they'll be baffled by GreyZelda's nuanced stage take on a man who wakes up one morning to find he's been transformed into a giant insect.
GreyZelda's ensemble adaptation has no patience for audiences unfamiliar Metamorphosis. Even those familiar with Kafka's surreal tale will need to listen carefully as GreyZelda physically illustrates fleeting novella references.
Take for instance the longing dream dance that the changed Gregor Samsa (Chris Riter) has with the vision of 'Venus in furs' (Lisa Wilson). The scene grows from a mention of Gregor's artistic collages he has framed in his room and helps to symbolize his tragic irreversible condition. Under director Rebecca Zellar's direction, the inability of Riter to connect with Wilson can be intensely moving if you've been paying attention.
Set across a bare black stage with a few chairs and a huge spidery-web wall, the sparseness of GreyZelda's productions allows audiences to project images conjured up in their own minds while reading the novel. Zellar and company provide a number of great visuals, such as sister Greta blossoming while bowing a violin in a pool of light and the aggressive family whispering that causes the unhinged cook to quit. The sound design and music by Hedonists, Maybe also creates a creepy sense of unease with its scratching punctuation and exotic rainforest-like aural plunking.
Some may find this overly artsy approach to the material to be cloying, like the opening symbolic prologue which could be dismissed as a noisy yoga session. But for those in the know, GreyZelda's Metamorphosis can be richly rewarding.
Now if only the young cast was fully up to the creative challenges. Riter's intensely physical turn as Gregor has him crawling, crumpling and climbing all over the stage in a grueling and literally bruising performance. Yet one gets no sense of the anally retentive clerk Gregor who once obsessed over train timetables inside the big insect. Everything is physically amazing about Riter's work, but the spoken monologues don't fully convince.
Lisa Wilson has plenty of fun doing a number of minor roles ranging from a playful charwoman to a haughty lodger. But Wilson doesn't bring much distinction to the multiple roles, which all feel extremely similar.
More consistent performances are drawn from actors playing the shell-shocked Samsa family. Meredith Lyons' frightened gasps as Grete are truly startling when she first encounters he changed brother. Anna Agniel's pained asthmatic coughing fits and parental agony as Mrs. Samsa are supported by Kevin Kingston's solid Mr. Samsa.
Kafka's unconventional story surely needs a non-traditional staging, which is what GreyZelda definitely delivers. It may not be perfect or to everyone's taste, but it certainly is a creative homage to a great work of literature.