<p><i>Metamorphosis</i> at the Lyric Theatre, Hammersmith</p>
<p>Four years on from its original run at the Lyric, Gísli Örn Garðarsson and David Farr’s innovative and daring adaptation of Franz Kafka’s tale has returned from an international tour to its long-awaited homecoming.<br> Moving, intelligent, gravity-defying and laugh-out-loud funny, this piece may be short but it assails its audience with conflicting emotions, and possesses an intriguing focus and powerful pulse.</p>
From the curtain-up, the set alone renders this show captivating. Designer Börkur Jónsson has done a superb job of creating Garðarsson and Farr’s vision on stage, as Gregor’s room is rotated in comparison with the room below to allow the audience a fly-on-the-wall view. As the tilted angle becomes apparent, the mind-bending perspectives of the two rooms enhances the contrast between the ‘normal’ and the bizarre – between a world with which the family can cope, and that which they cannot comprehend. It soon becomes apparent that Garðarsson is one of those almost sickeningly talented types, as not only has he adapted and directed the work, but he also utterly steals the show on stage.</p> His portrayal of Gregor, the man who wakes up one morning as a mysterious, apparently bug-like creature, is sensitive and engrossing, but also incredibly impressive in its gymnastic feats. As Garðarsson crawls around the sides of the set, hanging from walls and leaping from table to wall to window, his creeping, uncomfortable movements retain a natural and poignant humanity; the ease with which he appears to sit on his bed almost tricks us into forgetting that in fact this man is clinging to a vertical wall – the realisation elicits gasps from the enthralled audience. This is a perfect example of acting and staging working in perfect harmony; the attention to detail is delightful, and enables the figure of Gregor to evoke simultaneous warmth and discomfort. There is something so enchanting in the skill involved, yet a constant prickle on the back of the neck betrays the darker, threatening note which steadily increases throughout.<br> The decision to keep Gregor looking and sounding human to the audience – although his transformation is apparent in the reactions of others – is pivotal to the adaptation’s potency, as his marginalisation and rejection are all the more disturbing and touching. Kafka’s themes of persecution are powerfully present, without the political parallels feeling forced.</p>
Of course, this is not a one-man show, and Garðarsson is ably supported by an accomplished cast. His bewildered parents provide many of the laughs, as Kelly Hunter and Ingvar E. Sigurðsson make the most of the comedic potential of their roles. Yet the humour never goes too far as to dilute the unnerving heart of the work, and on the whole the two balance their respective mischievousness and pomposity with a credible struggle to come to terms with their new reality.<br> Their performances are somewhat less nuanced than their co-stars, but the coupling provides a solid basis for the bizarre occurrences and conflicting emotions which emerge.<br> As events descend into the more traditionally and farcically comic with the arrival of Herr Fischer, the intelligent staging is once again apparent. As Fischer (Jonathan McGuinness) struts and flirts in his white suit, the pitiful figure of Gregor above is subtly bathed in a sickly green light, ensuring his agonising presence is not forgotten.</p> Rather disappointing, however, is Fischer’s reaction at Gregor’s sudden appearance: Garðarsson’s spectacular entrance into the bottom half of the set seems underserving of such a flat ending to the episode as Fischer’s exit, which appears anti-climactic, the aftermath unexplored.</p>
Driving the progress of the plot towards tragedy is Greta, played by the highly adaptable Nina Dögg Filippusdóttir. Her progression from girlish innocence to controlling and decisive maturity is genuinely shocking and uncomfortable – particularly evident as violent white light silhouettes her abuse of her brother – although the changes in clothing were perhaps a little unsubtle. The code of soft-coloured skirts and cardigans for ‘innocent Greta’ and monochrome, severe suit and boots for ‘manipulative Greta’ threatens to undermine the nuances of Filippusdóttir’s portrayal of what Farr has described as the most fascinating character. However, her depiction of the role by and large manages to avoid the trap of such unsubtleties, adequately presenting the simultaneous potential for love and for ruthlessness which lies in this character – as Farr points out in an interview, the question of how good people can carry out seemingly terrible acts is a resonant one, and something which pervades this work with little hope for an easy answer.</p>
This production grips hold of its audience and refuses to let go. The lack of an interval is in fact welcome as the tension is held throughout, evident by the absolute focus of this audience, populated as it was by several school groups. The final tableau is reached deliberately, almost tortuously, and is incredibly moving in its duality of serenity and tragedy. Complimented by a unobtrusive yet effective soundtrack, it is fitting that an impressive display of aerial silks forms the main feature of the show’s climax. I’m sure it is Garðarsson’s physical performance that will be remembered by many for years to come. However, it is also the vision and the intensity of this production that will linger with audiences.</p> It seems certain to me that these 85 minutes of theatre will not stray easily from the mind.</p>
<i>Metamorphosis</i> is playing at the Lyric Theatre, Hammersmith, until 16th Feb</P>
