REVIEW: Metamorphoses (Folger Theatre)

Folger continues its comeback with the 2001 epic Metamorphoses by Mary Zimmerman. Unusual for modern pieces, it’s presented as a series of vignettes portraying Greco-Roman creation myths—Ovid’s own Metamorphoses, that is. Ancient stories like these lend themselves too well to ambitious direction, and who better to take the helm than local favorite Psalmayene 24? Let’s dig in.

Book

At its core, a contemporary retelling of the Metamorphoses using contemporary aesthetic. However, Zimmerman has tailored the tales to contemporary lexicography, allowing the mythos to feel grounded and authentic. Additionally, its presentation as a series of events allows viewers to appreciate the craft placed into each production. It’s not a highly-complex story, presented largely Aesopian to familiar audiences, but they are presented with just enough threadbare linkage to create narrative engagement. However, the caveat to a vignette presentation is that the pacing can suffer as a result. Often the piece feels unending — until it doesn’t. Luckily we are left with a satisfying ending that gathers the bubbles of consciousness together, tying the primary thread into a beautiful, cerulean bow. 9/10

Acting

Masterfully cast, Folger has created an impossibly polished ensemble of some of the DMV’s finest performers. Each get a chance to shine in their own vignettes to the point that it’s hard to pick a standout. Just off the top of my head and not inclusive of the entire cast, you’ve got your current Helen Hayes-nominees in Renea S. Brown (UPDATE: Helen Hayes-WINNER for The Mountaintop), Billie Krishawn (Angels in America), and DeJeanette Horne (This Girl Laughs…) Then there’s the effortless dramatic charisma of Renee Elizabeth Wilson (Monumental Travesties) and Yesenia Iglesias (POTUS, At the Wedding). Plus, Jon Hudson Odom (Ain’t No Mo’) and Kalen Robinson (Sea Mink-ettes) are impeccable as the Midas duo (and others); and the infallible efforts of Miss Kitty playing the water— yes, just the water — is something to be seen above all else. The chemistry and crystalline demeanor of this ensemble is astounding, and there are nuances and tics that will render any subsequent viewing truly unique as each actor makes their many characters dimensioned and special. If you’ve longed for anything close to a DC theatre All-Star Game, we’ve got one in Capitol Hill. 10/10

Production

Psalmayene 24 is a DC favorite for a reason: he is a world-class director, and Metamorphoses showcases him at the top of his game. Archaic visuals pervade through Folger’s Tudor stage, centered on a reflecting waterless “pool” and Egyptian motifs among Lawrence E. Moten III’s enduring set design. Psalm’s vision focuses on these myths from a distinctly African point of view, which rends brilliantly gorgeous textures on Mika Eubanks’ costumes and dazzling step choreography from Tony Thomas. Psalm’s vivid displays of Black wealth —in all its metaphysical forms —are shown emphatically in each character, from the Water Nymph’s rain beads cleverly infecting each movement in the pool to Zeus’s George Clinton-esque personification. Metamorphoses is an achievement in sharp directorial vision, an event in which nothing feels out of place. 10/10

Viz

All the promotional pieces I’ve seen for this production have been gilded with subtle patterns and gradients, showcasing the extra detail that has gone into this production. Posters around town have been unabashed in the display of all of the main cast dressed to nines, directly communicating the regality of the production. My only true gripe is that if you don’t know the Metamorphoses as is, none of this will explain that, but I’m hoping the visuals are eye-catching enough to rope you in. 9/10

Verdict

Metamorphoses is a radically engrossing feat of Black-oriented storytelling that soars, with an unstoppable ensemble that is directed with laser-focused vision to form a new world of gilded creativity. 38/40