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BWW Reviews: The METAMORPHOSIS

BWW Reviews: The METAMORPHOSIS

I wanted to read Kafka's Metamorphosis before attending the Royal Ballet's production bearing the same name. But my own Kafkesque world intervened, so I never had the chance to follow Gregor and his transformation from human being to bug. I can only judge the production on its own merits, and not compare it to the book which, I think, is only fair.

Metamorphosis, choreographed and directed by Arthur Pita, never involved me, or made me care, about the production's subject, or even the work itself. It was perplexing. We are introduced to the Samsa family: father, mother, sister and son, Gregor. But who are they? There is no sense of time; are they living in the 1950s, the 70? I couldn't make it out, which is a big part of the equation. We want to know where and when. I was left wondering why.

Gregor, the main character of this 90-minute long piece, described in the playbill as a "dance theater adaptation after Franz Kakfa", is a man stuck in a boring job, something that is reiterated over and over in the first 15 minutes. One day he wakes up to find that he is no longer a member of the human race, but an insect. We are presented with interesting and searing ideas. They should really perk us up to what's coming.

But they don't. How long can we watch a dancer performing the part of an insect? Once we see Gregor transformed, his movements hover between the pretzeled, contorted, coiled, and acrobatic. Many critics and audience members in London were highly impressed. I wasn't, because Allegra Kent did the same thing when she appeared in many of Balanchine's ballets, which didn't last for 90 minutes.

As Gregor transforms, he is covered with brown gook or gunk, depending upon how you define it. Slimy, greasy, disgusting, he frightens his family, who depend on him for cash, since he seems to be the only one bringing home any source of income, and, as a bug, he wouldn't exactly fly in the office. So what do they do? Take in boarders. Not your usual boarders, but three people resembling Hasidic Jews, who perform a dance with mother, father and daughter. Does this sound strange? I thought so. Why are three Hasidim there? The program describes them as "Bearded Men," but this is not the world of Sholom Aleichem, Isaac Babel, or even Fiddler on the Roof. Kafka had his own ambivalent relationship to Judaism, but I don't recall hearing about Hasidim in his home. To bring the story to its conclusion, Gregor appears and scares the living hell out of them. The family, bereft and bereaved by this loss of income, turn on Gregor with such venom and spite that he takes the only way out, suicide. As Ethel Barrymore used to say, "That's all there is, there isn't anymore."



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Barnett Serchuk Editor-in-Chief of Broadwayworld Dance.



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by Barnett Serchuk