This is an opera in two acts by Brian Howard with libretto by Steven Berkoff, sung in English, adapted from Franz Kafka’s 1915 novella, Metamorphosis.
Tama Matheson’s production had an eleventh hour hiccup with Julie Lea Goodwin falling ill and being replaced by director’s assistant Tabetha McFayden who was excellent.
Mark Thompson’s set design, a platform stage with tiered levels of steel girders, was one of the strongest elements of the production. The bunting curtains with enlarged cockroaches scurrying around was disturbing.
The performances by the cast were all quality performances. Simon Lobelson gave a striking performance as Gregor Samsa who wakes up one morning to find out that he has been transformed into a giant insect, to his and his family’s chagrin. Through the production Gregor’s bedroom becomes like his prison as we see him catapult around his room, hang on to the steel bars and sometimes hang off the light in the middle of his room. He becomes increasingly distressed, even more so as the TB insinuates into his body. At one time he coughs up a tubercular globule of shocking bright red blood. In a later scene, Gregor is furtively hiding behind the top right tier spitting excessive red sputum into a white bedpan.
Adrian Tamburini plays the priggish Chief Clerk of the merchant company Gregor works for who is disillusioned that he hasn’t turned up at work. He arrives at the family home and ends up leaves in disgust.
Christopher Hillier plays Gregor’s uptight, very conservative, European father who Gregor has a very poor relationship with. Hillier gives a very strong performance.
In one of this opera’s darkest scenes Gregor’s father decides, along with his frumpish wife and forthright daughter, to clear up Gregor’s bedroom so that they can get a lodger to help pay the bills after the loss of Gregor’s income. One of the first thing to go is Gregor’s much cherished writing desk and Gregor is furious that they are capable of doing this to him.
Benjamin Rasheed plays the stout Lodger who is told that he needs to like pets – a reference to Gregor’s transformed state. The family make him a lovely dinner to make him feel like he is at home. When Gregor sees him he throws a tantrum. The irascible, demanding Lodger flees the scene.
Tabatha McFayden plays Gregor’s very distressed sister Greta who tries to remain loyal to Gregor but finds it increasingly difficult. Things reach a new low when Greta plays violin for the new Lodger to try and appease him and Gregor becomes very jealous.
Taryn Fiebig plays Gregor’s anxious, demure, sweet natured, stooped mother. The two women are more torn apart by Gregor’s demise than the father is. The father can’t show emotion and just paces around the house eating applies.
Through the opera the serving of food especially apples is a source of comfort, solace and even distraction at times. Food is all important and there is a sense of force feeding going on.
The mother’s effigy with Gregor’s face on it was very effective symbolism as she tries to cling on to how Gregor used to be.
Paul Fitzsimon conducts the Orchestra with great skill and the dark soundscape is another important feature of the production as was John Rayment’s very effective and impactful lighting design.
Mark Thomson’s costume design had all the characters in period costume and accentuated their personalities. In one very character defining scene we see the father button up the brass buttons of his military jacket and then put on a fur lapel overcoat with white kid gloves. Then he goes out on his walk.
Recommended. METAMORPHOSIS plays the Opera Centre, Surry Hills until September 29, 2018. Performances nightly at 7pm.
http://www.operaaustralia.org.au