Metamorphoses, Cockpit Theatre London Review
Written by Roni for Theatre and Tonic.
Disclaimer: Tickets were gifted in return for an honest review. All views are my own.
In the 21st century, it may seem hard to believe that there are still untold stories and experiences unshared in a world of anything accessible in a few taps and swipes. However, there are of course those voices that are vastly underrepresented that threatened to be silenced by the general status quo. One free thinking queer team is challenging these ideas, as The Cockpit becomes home to a new take on tales almost as old as time.
Metamorphoses is a ‘radically trans’ adaptation of Ovid’s 1st century text of Greek mythology, presenting various scenes and snippets in a ground-breaking form. Cycling through various stories such as Diana and Actaeon, Icarus and Procne, the show puts a queer lens to classic lore to give them a whole new meaning.
The set here is minimal and beautiful, avoiding the trap of overbearing and allowing for all eyes to be focused on the right places. Lambdog1066 deserves incredible accolade for their gorgeous costume designs, which are truly works of art. Each costume aids in telling a story, and each is beautifully presented with a message in mind. Director Jimmy Justice’s vision shines through throughout the piece; exposing the multi-faceted nature of mythology and packaging it in such a way that relates to the core experiences of being queer. This is conveyed effectively, with a mixture of scenes more overt and modern, and those that are based more on interpretation. It is worth noting that there is perhaps a fine line between what is abstract and what is at risk of losing the message it hopes to convey to an audience who may not be as familiar with the trans experience. Nevertheless, the artistic direction gives a stunning result that moved some to both tears and laughter – a sure sign of a job well done.
Interview: Jimmy Justice, writer and director of Metamorphoses
With a piece such as this, there is a lot that rests on the shoulders of the actors involved, but the trio of this tale handle it well. Jeanne Nicole Ní Áinle is supple, moving between various roles with ease. They manage to capture a vulnerability within queerness without appearing weak or helpless, emotionally splayed in a way that evokes empathy and understanding even in the more harrowing scenes. Macy-Jacob Seelochan gives a visionary performance, maintaining a certain poise that conveys both a need for barriers and an inward yearning for love and affection. She brings a wonderful grace to the stage, and their Narcissus scene felt relatable even beyond the trans framing. Kathrine Payne brings a more robust presence to the stories, often giving voice to notions even between the lines that most would shy away from. Their energy is powerful and assured as they weave through the various scenes, and they provide a beautifully solid backbone for the message to bounce off of.
Overall, this is a stunning, avant-garde piece that is thought-provoking and eloquent. It is clear to see that there is a heavy input from true queer experience, and the team behind this show is testament to that – the representation in the cast and creatives is refreshing to see. The audience reaction was overwhelmingly positive, and I’m very confident that those responsible can consider themselves successful in achieving what they set out to do.
At Cockpit Theatre until 1 June.
☆ ☆ ☆ ☆
