Metamorphoses
at Stone Bridge High School

Reviewed on November 22, 2019

Lily Perez
Woodrow Wilson High School
Submitted for publication to Cappies News

As a line from Stone Bridge High School's lush production of "Metamorphoses" puts it, "Myths are the earliest forms of science." Dreams juxtapose and make sense of reality; belief in the gods make us fully human. Derived from Ovid's Metamorphoses, Mary Zimmerman's immersive play centers a series of vignettes around the tension and harmony between mortality and divinity. With the cohesion of a committed ensemble and thoughtful, thoroughly realized creative elements, Stone Bridge's production wove together a tapestry of the elements of the human experience: hunger and loss; love and hope.

Rishi Mukherjee's Midas framed the play, his devastating greed and quest for atonement made resonant by a touching dynamic with Anne Treadwell, who played his daughter. As the anguished pair Alcyone and Ceyx, Ava Bueno and Nathan Good made a compelling case for the "mercy" of the gods. Meanwhile, the alluring Pomona (Brooke Premo, whose lively expressions created a character from little dialogue) and insatiable Erysichthon (Hunter Armentrout, highlighting the comedic aspect of a grotesque scenario with full commitment) illustrated why the gods loved or punished their subjects.

These gods reveled in nuances which often revealed striking humor. Natasha Adamson and Ruby Gau made memorable use of inflection and physicality to portray the drunken stupor of Bacchus and Silenus, respectively. This unexpected characterization introduced the audience to the flawed nature of the mighty beings. The various narrators throughout the play reflected oral tradition's centrality to human culture. As the audience's liaison with a surreal landscape of gods and mortals, the young women who took on those roles shone as present and engaged members of their scenes.

Water glistened as it flowed between flower strung columns, down a white deck saturated in the sun-soaked yellows and deep blue hues of the Mediterranean, and into a pool in which Psyche (Daniela Melgar) swam. Melgar emerged from the water, her hand-painted floral leotard soaked and her eye makeup flawless. This was just one instance in which the many original technical elements underscoring Stone Bridge's production converged to impressive effect. As a central framing device, Julia Knight, Olivia Smith, and Ava Bueno's costume design placed each vignette in a distinct and richly outfitted time period, from the Viking era to the 1970s. Throughout, gods and narrators remained in beautifully constructed Greek togas, emphasizing the constancy of myths and their morals in any era. From glitter accents to elaborate braided hairstyles, hair and makeup design added rich detail to each scenario imagined by the costuming team.

Actors swam in, ran over, stood upon, and emerged from Maia Ocampo, Amber Mongelli and Diana Altenhof's dynamic set. Having converted their mainstage into a black box, the immersive set thrust into the audience, creating a proscenium evocative of Greek amphitheaters. Sean Sorek, Leo Laykov, and Ryan Lignerfelt had the crucial role of executing sound cues as specific as the chime of Midas's steps turning cobblestones into gold. Technically complex and paired perfectly to each scene by genre and mood, James Good (who pulled double duty as an emotionally resonant Phaeton) and Ian Devenish's moving score echoed the emotional power of music emphasized throughout the vignettes, from Bacchus's drinking song to Apollo's chants.

From a changeable set to shifting aesthetics, to the tumultuous and ultimately fruitful transformation within its characters, Stone Bridge's production found increasingly magical and stirring ways to explore the titular metamorphoses.

Maddy Wade
Loudoun Valley High School
Submitted for publication to Cappies News 2

Baked shrimp and marshmallows! Salami and ice cream! Liver and donuts! "The godless are always hungry,'' the narrator solemnly reflects. Delightful acting, intricate costumes, and a set featuring a genuine pool of water: All of this was on the menu at Stone Bridge Theatre's mystical performance of Metamorphoses.

Metamorphoses originated in 8 AD as an epic poem by Roman author Ovid. Known as one of the most popular collections of myths, American author Mary Zimmerman chose her favorite stories and penned her adaptation in 1996. The show went on to premiere on Broadway in early 2002 and was blessed with three Tony Award nominations, and Zimmerman won the Tony for "Best Direction of a Play."

Due to the ephemeral nature of myths, this show's plot flows between many vignettes. The pool of nine stories ranges from King Midas's covetous collapse to Eros's silent seduction and reflects a message of the cosmic power of change throughout.

Stone Bridge transformed their performance space, constructing an intimate thrust setting on stage. Audience members surrounded the set on three sides while actors made use of eye-contact and physical closeness to make their stories palpable.

With a fierce spirit and focused energy, Diana Altenhof (narrator) chronicled the events of Erysichthon's destructive dealings. Her use of clear diction and projection created a simply divine on-stage presence. Hunter Armentrout's humorous take on the tragic tale showed the devolution of Erysichthon from haughty king to penniless and emaciated.

Clad in a heavenly white suit, Rishi Mukherjee as King Midas enlivened the audience. Mukherjee maintained a consistently high level of energy whilst conducting his slippery backwater dealings. Midas's enthrallment with money resonated strongly with the crowd, pointing a condemnatory finger at modern materialism. Simply put, his performance was pure gold.

James Good performing as Phaeton proved himself a true titan in the theatre. When reflecting on Phaeton's distance from his absent father, Good used careful choices with line delivery and varying levels of emotional intensity to bring unexpected relatability to these ancient narratives.

Elevating these golden performances, the show's technical elements were stellar. Student composed music by James Good created a unique and subtle aura surrounding character. Good drew inspiration from the music of Vikings, Medieval Europe, and Mississippi Delta Blues to match the varied time periods represented in the piece. Additionally, detailed hair and makeup (Kira King, Amber Schmitt) transformed teenage thespians into celestial beings. The intricate use of geometric shapes, coordinated color palettes, and even beards made of glitter connected to create distinct and memorable character airs. With more than 50 hair and makeup changes during the show, this production was blessed with an excellent crew (Juliana Viera, Katherine McCoy) to battle this monstrous task.

"Myths are public dreams, dreams are private myths." Running Dog Productions bore their dreams last Friday night. Their fateful performances proved how stories can still move audiences two thousand years later.

Addie Winger
Loudoun Valley High School
Submitted for publication to Patch.com

It has been said that the myth is a public dream, and dreams are private myths. Stone Bridge High School brought timeless myths, or rather public dreams, to life with a whimsical performance of Metamorphoses.

Debuting off-Broadway less than a month after 9/11, Metamorphoses evoked an intense emotional impact on a stunned New York City. The show went on to perform on Broadway at the Circle in the Square Theater, closing after a total of 400 performances.

Mary Zimmerman's Metamorphoses is a mesmerizing tale of transformation adapted from the classic Ovid poem. Told through classic Greek vignettes, the play consists of nine unique stories intertwining themes of love, suffering, and change.

The incorporation of water throughout the performance served as a motif, reflecting humanity's perplexing power to adapt. The recurring theme of transformation was symbolized through water, and its uncanny ability to shift from tranquil, to violent, and serene once more. Each of the vignettes integrated the pool; in which passionate love, death at sea, and metamorphosis are portrayed.

Rishi Mukherjee's suave delivery of the materialistic King Midas personified the perennial tale of selfishness. Dressed in a decedent white suit, the snobbish businessman was the epitome of privilege. Mukherjee successfully portrayed Midas' momentous character shift through his heartwarming reunion with his beloved daughter (Anne Treadwell) at the conclusion of the show.

Phaeton's (James Good) aviator glasses and nonchalant exterior quickly dissolved to reveal a resentful young man troubled by his absent father. Good expertly balanced the intensity of Phaeton's anger from his father's neglect with light-hearted humor. The audience could feel Phaeton's rage as he demanded his father, "Give me the keys to your car." Phaeton's story of setting the world on fire mirrored the dropping of the first atomic bomb during World War II. This was subliminally displayed through the words "Enola Gay" printed on the back of Phaeton's leather bomber jacket and the faint sound of sirens as he relinquished his past.

The forlorn sobs of Myrrha (Diana Altenhof) echoed across the stage as she slowly sunk into the water, dissolving into a puddle of tears. Altenhof's dynamic facial expressions and prominent stage presence gracefully conveyed Myrrha's inner conflict.

Stunning visual representations of each character were created through vibrant makeup design by Kira King and exquisite costumes by Julia Night. Each vignette provided costumes unique to a specific time period; ranging from a harrowing 1300's beaked plague mask to 1970's flowing florals and tie dye crop tops. The Gods radiated luxury and power with their shimmering glitter beards and luminous silk togas, skillfully contrasting the mortals.

The set, designed by Maia Ocampo and Diana Altenhof, embodied an enchanting Greek garden embellished with twinkling lights, marble columns, and gilded vegetation. The stage's idiosyncratic design allowed the Gods to stand above and observe the futile mortals below. The thrust stage design submerged the audience into the mesmerizing world of Metamorphoses.

A reminder of humanity's extraordinary ability to change, Stone Bridge High School's rendition of Metamorphoses is an emotional, immersive experience that highlights the value of shared cultural myths.

Jeronica Tran
Tuscarora High School
Submitted for publication to Loudoun Now

Metallics glittered among soft flowers in the marbled home of Ancient Greece. Stories of love and power filled the air like the fog that hung around the ankles of the audience. Stone Bridge High School whispered Metamorphoses in our ears, and we heard them loud and clear.

Written by Mary Zimmerman, Metamorphoses was adapted from the classic Ovid poem Metamorphoses. It first premiered in 1996 at Northwestern University as Six Myths. It later opened off-Broadway in October 2001 and then transferred to Broadway in February 2002. The story is a series of vignettes that follow various uncommon figures in Greek mythology. The show features names like Zeus and Hermes, but also lesser known names like Eros and Orpheus. Most notably, the show start and ends with the infamous King Midas.

Stone Bridge left an outstanding imprint in the minds of every audience with this stunningly eerie play. The actors brought an intimate window into the mythological lives of the Greek. Every detail of the show, from the glittery ensemble to the radiant water on-stage, was executed to perfection. The cast and crew truly worked hand in hand to portray the feelings the stories of the show should evoke.

Due to the short story form of the show, every actor was forced to create a strong persona. Every actor did just that. Every person that stepped onto the stage faithfully became their characters and stole every audience member's eye. Actor James Good (Phaeton) stood out among the rest. His charming stature and perfectly timed comedic comments entranced every audience member. With every step, he kept eye contact with us. We felt his hurt, his anger and his frustration. Furthermore, Actors Ava Bueno (Alcyone) and Nathan Good (Ceyx) presented us with an anguished love dynamic that left an ache in our hearts. Ava Bueno (Alcyone) stole our hearts and we watched her crush them with every pained moment she had on stage.

This is a true ensemble piece, and the pool of water performed the most intriguing role. Set designers Maia Ocampo, Amber Mongelli and Diana Altenhof creates deceptively simple set, but there lot more to it than meets the eye. The amount of detail put into the set was phenomenal. Actors seemingly pulled props out of thin air. They were able to disappear and reappear in the blink of an eye. Stone Bridge's set designers worked tirelessly to build a set that dutifully enhanced every aspect of the show. The most surprising technical element of the show were composers James Good and Ian Devenish. These composers spent over 54 hours to create almost 2 hours' worth of profoundly moving music that precisely followed every form a scene took.

Metamorphoses was a splashy production and Stone Bridge doused its audience with zeal. They created a theatrical experience that was both sensory and intuitive. The show started and ended with the infamous golden King Midas, fitting because this was truly a golden show.

Kylee Hendrie
Wakefield School
Submitted for publication to Loudoun Times-Mirror

The presence of gods, ethereal and mighty, graced the thrust stage; bittersweet vignettes revealed themselves in the glowing lights upon the intimately packed and engaging set in Stone Bridge High School's production of Metamorphoses.

Initially from Ovid's classical epic poem, American playwright Mary Zimmerman wrote an adaptation which first premiered at Northwestern University in 1996 and then in Chicago, eventually coming to Broadway in 2002.

The story is told as a series of vignettes, covering well known stories such as the tale of Midas, Orpheus and Eurydice, Phaeton and Apollo, and Eros and Psyche and including the all too familiar traditional Greek mythological figures.

Columns and a pool of water adorned the dynamic stage, characters trickled through the audience, and the brilliant, originally composed soundtrack perfectly accented the ongoing action on stage.

An immaculate attention to detail was given to costume and props, with beards of glitter comically adorning the face of the gods and shrubbery pulling back to review a golden touch from Midas underneath. Hair and makeup was laudable for it was done elegantly and distinctly.

In particular, Alcyone (Ava Bueno), gave a stellar performance. Soulful and wretched, her cries of anguish struck a chord in the audience. Equally as captivating was Midas (Rishi Mukherjee) and Aphrodite (Sicily Williams). Mukherjee was charming and alluring, his dynamic with his daughter (Anne Treadwell) moving. Williams, though mostly silent, conveyed authoritative expressions within her graceful physicality, her presence provoking and powerful.

Notable moments included the exchange between Hunger (El Stephen) and Erysichthon (Hunter Armentrout). His insatiable appetite was visually displayed with Stephen's portrayal of the dark and haunting abstract notion of Hunger. Armentrout captured the essence of brutal hunger, digging into real loaves of bread and demanding eagerly for more. The love captured between Eros (Charlotte Peter) and Psyche (Daniela Melgar) was strong and empowering, Melgar's gentle dance of curious Psyche was poetic and invoking. Their tight embrace, a happy ending, swayed many in the audience.

Overall, Stone Bridge High School's rendition of Metamorphoses was positively striking. Gorgeous and engaging, the performance was godly good.