Venue: Chippen Street Theatre (Chippendale NSW), Feb 7 – 16, 2019
Playwright: Franz Kafka (adapted by David Farr and Gisli Örn Gardarsson)
Director: Amanda Stephens-Lee
Cast: Sam Glissan, Victoria Greiner, Julian Lawrence, Yannick Lawry, Hailey McQueen, Madeleine Miller
Images by Deng Deng
Theatre review
It is not entirely clear if Gregor’s transformation was a choice, in David Farr and Gisli Örn Gardarsson’s adaptation of Kafka’s Metamorphosis, but it would come as no surprise, if we were to discover that he had willed himself into this new state of being, as a response to his previous intolerable existence. The play is in some ways a joke about conservatism, with Gregor’s family incapable of accepting a new life, insisting on keeping truth at bay, in their desperate attempt to maintain a system at home that provides no happiness. Their insistence on sticking with the old and known, for no good reason other than familiarity, is indicative of how we, as ordinary working people in our daily lives, serve to prop up structures that offer us little.
Directed by Amanda Stephens-Lee, the show is often amusing, if slightly hesitant with its own theatrical flamboyance. Lucy McCullough’s set design brings visual focus to the otherwise sprawling stage, but we experience an awkward imbalance with much more action taking place on stage right, while the other half is left feeling somewhat neglected. Music by Adam Jones is noteworthy for giving the production an auditory richness, that assists with the play’s supernatural aspects.
Actor Sam Glissan introduces a strong but tender presence to the abomination, helping us attain an important and greater sense of identification with Gregor than with the rest of his family. Mother is played with great conviction by Hailey McQueen, who applies an admirable precision to her part. Julian Lawrence is the comical standout, larger than life and genuinely hilarious with his inventive take on Fischer, an obnoxious house guest.
In spite of himself, Gregor has evolved a new persona, inconvenient for all involved, but it is one that reveals something honest about his individual being and essence. As everyone struggles to come to terms, we ponder on his rejection, wondering if we can ever find a place for integrity. As we hear Gregor talk only of kindness, and see him intend no harm, it is clear that the monster is no monster at all, and we must conclude that Gregor remains his own person. The story of his ostracism, is a depiction of fear that tells so much about how we construct our values, and how we can be so afraid to love.
www.chippenstreet.com | www.clockandspielproductions.com
Suzy Goes See 