The Metamorphosis
Arthur Pita
Linbury Studio Theatre, Royal Opera House
Thursday 22nd September 2011
By Kelly Crocker


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The Linbury Studio Theatre is buzzing, and Edward Watson hasn’t even begun to take his insect form yet (excuse the pun). The audience seat themselves in and around either side of a pure white floor and two walls, and are immediately invited to enter into the hygienic world of the Samsa family. We are quickly informed of this family’s fetish mannerisms as son Gregor obsessively checks the clock, tensely lying in bed, whilst next door daughter Grete (Laura Day) happily does her homework in the company of her careful mother (Nina Goldman) and out of work father (Anton Skrzypiciel). And many of the audience are still yet to take their seats, stepping straight into the experience which interprets Franz Kafka’s 1915 novella.

As the room settles we are introduced to the daily routine of Gregor, the travelling salesman, in which it must be noted that the set is used exquisitely. His journey is repeated several times, and the channel that separates the audience and performance area either side is used to symbolize Gregor’s outside location. We picture the image of a train as smoke billows from a far end and an enthusiastic ‘trolley dolly’ persona grows amusing with repetition. The recurrence of these day to day patterns allows certain connections, particularly with Gregor and his sister, to be recognised. Oddly quirky music accompanies the unfolding narrative, summing up the slightly disturbing quality that depicts this family. Frank Moon is evidently in sync with the choreographer’s artistic notions, providing a very fitting soundtrack throughout.

Arthur Pita has cleverly choreographed this narrative which follows the troubles and woes of a family whose son has awoken as an insect, consequently breaking down the support he once provided for his family, forcing his father to go back to work and find lodgers. The movement content is highly relatable to each character and their story. For example, Ed’s astonishing physical ability puts any insect to shame as his limbs intertwine in a curious fashion, whilst his ballet enthusiastic sister’s movement vocabulary consists of that form. This is prominent throughout the literal pedestrian actions, using particular styles when necessary. It works beautifully as Grete, being the only one impassioned to work past the thrown up slime to help her older brother, portrays their connection through a frustrated ballet practise sequence which possesses an insect like quality, poisoning her aesthetics.

Funnily enough, as a piece of dance I no longer desired to question the movement itself almost instantly, it is all wonderful and it is all vital. It is the piece as a whole, a queer yet extraordinary theatrical experience that captures the soul. And this is what happens when brilliant artists such as Arthur permit dance and theatre to take their vows and join in holy matrimony. Dance theatre rarely fails to produce such magical ordeals, and The Metamorphosis is without a doubt one of those inspirational pieces... with the help of a lot of goo. The narrative is clear with Arthur’s contemporary twists despite a rich and in depth essence applied to all aspects and theatrics of the piece. It sounds incredibly obvious, but we are told a story through dance. However, due to being told it through Arthur’s remarkable vision, we abruptly realise just how wonderful it is to encounter.

The acting essentially melts into the movement, and is thankfully stunning by every last performer. To resist initially crediting Laura Day would be a crying shame due to such an astonishing performance from this young lady, who is in her graduating year at the Royal Ballet School. Not only was her acting (and singing!) almost perfect, her technical skills as a ballet dancer were to die for. She is a name I urge others to remember as there is an exciting future awaiting her; unashamedly I was thoroughly mesmerised by her performance. But what delighted myself in particular, was the creative beauty that Laura and the other classically trained cast members produced. I could not, and would not like to imagine anyone else taking on Ed’s role. The phrase ‘star quality’ could not be applied more, and let’s face it, you’d have to be a star to not only spew treacle so effectively, but to execute such fascinating movement swimming in utter slime; strangely inspiring. Both Nina Goldman and Anton Skrzypiciel gave their roles such honest attention which I couldn’t bear to forget in a hurry, dueting in a touching yet surreal manner with their children. Whilst Greig Cooke and Joe Walkling were efficient naturals, whether that be an angry clerk, a conventional train conductor, or (on the other end of the scale) scaring the living daylights out of the audience as nightmare worthy insects. I was thrilled to discover that former Candoco Dance Company member Bettina Carpi was cast in this piece, and it was once again an absolute pleasure enduring such a phenomenal presence on stage. Similarly with other performances she gives, she captured the creative essence of Arthur’s piece brilliantly.

The Metamorphosis seemed to have everything, yet remains so unique. Embodying such distinctive style, we even pick up the most detailed aspects like that of the play’s Freudian attributes. Quite a tragic yet disturbing tale, I expected it to go of either two ways; a startling random display, or a character filled narrative. Impressively, it went both. Vomit-worthy in a good way and a spectacular artistic mess that doesn’t deserve to be missed. All hail dance theatre, all hail Arthur Pita!