Metamorphoses

A play by Mary Zimmerman
In this retelling of the classic Greek myths of Midas, Orpheus and Eurydice and others, we witness the transformative power of love, redemption, and forgiveness.

Sponsored by the Department of Theatre
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Details
To metamorphose is to change - to undergo transformation by enchantment. Zimmerman’s theme of mythic enchantment uses myth as a hybrid of antiquity and twentieth-century culture. Based on Ovid’s epic poem of the same name, Zimmerman’s influences also include a 1908 poem by Rainer Maria Rilke (Orpheus. Eurydice. Hermes.), the theories of Sigmund Freud and Carl Jung, plus the writings of Joseph Campbell and James Hillman. Using these voices, she explores links between myth, theatre, and therapy. As one character puts it, “Myth is a public dream!”

The play opens with a giant pool of water that occupies most of the stage, becoming a swimming pool, a washing basin, the River Styx of the Underworld, and the sea. Twelve actors in multiple roles portray classic myths marked by a desire to transform the self through love. Zeus, a scientist, and “Louise” - a player not yet in character - bring the world into being by talking about it. The scientist walks the pool’s deck in a white lab coat, carrying a specimen of the undifferentiated universe (a jar full of blue gel and sand) in her hands. King Midas resembles an American industrialist millionaire. Erysichthon, though dressed in a toga, comes across as a greedy mogul unconcerned about the environment who pays dearly for incurring Ceres’ wrath. The tale of Orpheus and Eurydice, as told by Ovid and by Rilke’s poem, creates a poetic bridge between myth and modernism, artistic process and its inviolate root in the unconscious. Phaeton’s tale is montaged with a full-blown session of Freudian analysis. Though delightfully lost in the fiction, the cast speaks in contemporary language.

The costumes of the play are "evocative of a generalized antiquity but one in which such things as suspenders and trousers are not unknown." They range from classic Grecian “togas” to modern bathing suits, sometimes in the same scene. This juxtaposition of old and new is particularly striking in the story of Midas, in which Midas is shown wearing a smoking jacket while being confronted by a drunken reveler in a half-toga and vine leaves in his hair.

Parking: $5 in Lot 1 (No fee with UC permit)
TICKET Availability:
Fine Arts Ticket Office: (951) 827-4331 located on campus at the University Theatre north of Lot 6 Hours: Monday through Friday, 10:00 A.M.- 4:00 P.M.
Arts Ticket Office: located on campus at the Arts Building at the University Avenue entrance to Ucr across from Lot 1 Hours: One hour before performances in the Studio Theatre, Arts 113
Ticketmaster: (213) 480-3232, (714) 740-2000, www.ticketmaster.com
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Events are subject to change without notice. No Reserve Seating: Seating in some venues is limited, so arrive early for best seats. Events begin promptly at the announced curtain time. Latecomers will be seated at an appropriate pause in the program as designated by the management.
Please order carefully. No exchanges or refunds will be made, except in the event a performance is canceled.
Events are subject to change without notice. Regardless of age, all patrons must have a ticket. Infants on laps are not permitted.
Some performances may not be suitable for all audiences.
Location : Arts Building Studio Theatre, Arts 113