EUTC’s production of Metamorphoses was gaining traction long before opening night, due to the rumour that a swimming pool was being built for the set. Intrigued by this, my curiosity was certainly satisfied upon walking into Bedlam theatre and not only seeing the swimming pool built into the stage but also discovering that the usual seating arrangement for the audience had been changed. Given the scenic commitment to this show, I was excited to see how this would be used in the piece, and whether actors would sink or swim.
A modern take on Ovid’s myths is opted for and this comes to fruition through the amalgamation of the costumes, set and music. Apsara Shah is the costume manager, and she expertly creates a cohesive catalogue of outfits that fitted the intended modern twist perfectly—not a toga is in sight! A special mention should of course go out to Ava Ausman and Ava Tumblety, the set managers who successfully bring to life the pool party vision. It isn’t just the pool and the DJ booth at the back of the stage that create the atmosphere but also the addition of smaller details, such as the scattering of red plastic house party-esque cups. The music used throughout the two acts helps elevate the performance and set an appropriately chaotic tone. Sound designer Aaron Rashid has effectively curated the soundtrack, containing the likes of Charlie XCX, which propels the House of Bacchus into the 21st century.
There is a total of 16 characters, an uncharacteristically high number for a Bedlam production, however, each brings something unique to the table and proves their purpose in the play. Over the two acts a total of 16 myths are performed, some in just a single scene, and others that run through the course of the play, for example the storyline of Orpheus and Eurydice, convincingly portrayed by Orla Kinniburgh and Hattie Foden-Ellis. The myths are filled with unlikeable and flawed characters, excluding the well-known tale of Narcissus which evokes sympathy from the audience thanks to Noah Geller’s skillful portrayal. No prior knowledge of the myths is needed in order to get the most out of the play, and Noor Bashir’s role as the narrator aids by filling in the blanks so that the audience can follow the plots with ease. The only real criticism of the night is that I felt at times the pacing could have been altered slightly — some scenes feel like they plough on for too long and towards the end of the play I found myself becoming less engaged and invested in the storylines.
The central narrative provides the most outrageous and entertaining moments of the night, Jude Rogers, playing Bacchus, deserves high praise for their ability to convey the utter disorder and debauchery of his character. The four actors in the Bacchae – Ava Godfrey, Noah Geller, Hattie Foden-Ellis, and Lily Dickie – portray the crazed hedonistic cult in such a way that keeps the audience engaged and anticipating where their unpredictable behaviour would take them next.
Overall, EUTC’s modern adaptation of such a classical text is a great success and most definitely worth a watch, with shows running every night until the 28th February, and with themed cocktails available during the interval, it would be a shame to miss out.
Production Image by Emily Sharp (@emilyrosesharp)