Theater Reviews

Nov 23, 2008 - Reno's Bruka Theatre presents Mary Zimmerman's provocative "Metamorphoses"

By Jack Neal

Richard Wagner’s epic “Ring Cycle” is about a flawed world redeemed by love. Ovid, a Roman poet writing about the time Christianity was being conceived, based his “Metamorphoses” on the idea that love only sometimes conquers all. Mary Zimmerman’s updated “Metamorphoses” concludes that “wherever our love goes, there we find our soul.”

Zimmerman’s “Metamorphoses,” now playing at Reno’s Bruka Theatre, is a fascinating blend of the very old with the revelatory new. In the ten myths Zimmerman selects to spin her tale of transformed souls, sorrow is the music that makes her stories of lost love, sometimes regained, dance.

The production’s physical focus is a pool, which forces actors to move through another element as they embody various transformations. The pool is the production’s emotional center. The handsome set, designed by Lewis Zaumeyer, is enclosed at one end with large slabs of stone evoking a Roman atrium. Zaumeyer achieves a massive look in a relatively limited space, and it’s impressive.

Dressed in costumes that span centuries and a range of societies, actors alternate as characters and narrators in the various fables. The fables range in form from a quietly erotic question-and-answer session between a young man and young woman, to larger campfire-style storytelling. From the familiar story of King Midas (Androo Allen) and his golden touch, to the relatively obscure tale of the incestuous Myrrha (Rachel Sliker), the stories unfold in a seamless narrative of love, love lost, and sorrow.

Credit Freud and Jung for episodes dragging psychology into these classic myths. Credit playwright Zimmerman for her adroit mix of poignancy and humor.

In one light-hearted episode Phaeton (Andy Luna), son of the Sun, lies on his floating analyst couch explaining his father complex to his analyst (Mary Bennett). In one of its darker moments sex becomes a water sport. When Myrrha seduces her blind-folded father (Scott Beers) at sea, and when her father realizes who he’s been with, there’s a tsunami of disgust and violence.

There are narratives of isolation and separation, such as Orpheus (Lewis Zaumeyer) reclaiming, then losing Eurydice (Linda Rentner); or when King Erysichthon returns to his bride, Alycyon (Jamie Plunkett), in the late glimmers of a dream revealing his death.

None of the stories have completely happy endings. What they have is an excellent script, and - with this production - a series of compelling performances from a formidable cast. Also making distinguished contributions during their moments at center stage are Tommy Plunkett (Bacchus), Amy Ginder (Aphrodite) and Sophie Moeller (Pandora).

David Simpson’s lighting designs are at all times elegant. Mary Bennett and Scott Beers have co-directed and their work touches the raw edges of emotion while honing in on large splotches of humor.

As Phaeton’s therapist says, “Myth is a public dream. Dreams are private myths. Unfortunately, the mythic side of man is given short shrift these days…. As a result a great deal escapes him.” Little escapes notice in Bruka’s excellent rendering of Zimmerman’s “Metamorphoses.” Its perceptive revelations of many of the frailties impacting the human condition make Bruka’s “Metamorphoses” riveting theater.

“Metamorphoses” can be seen at the Bruka Theatre, 99 North Virginia Street, Reno, Nevada, November 14, 15, 20 (the performance reviewed), 21, 22, 28, 29, December 4, 5, 6, 11, 12, 13, 18, 19, 20 (2008) at 8 p.m. and December 14 (2008) at 2 p.m. $20 in advance, $25 at the door. For information call 775-323-3221.