Greek Mythology

A Noise Within Stages ‘Metamorphoses’ to End its 30th Anniversary Season

/ May S Ruiz / Leave a comment

Originally published on 9 May 2022 on Hey SoCal

The cast of ‘Metamorphoses’ includes (from left to right): Sydney A. Mason, Trisha Miller, and Cassandra Marie Murphy | Photo by Daniel Reichert / A Noise Within

A Noise Within’s (ANW) 30th anniversary season comes to a close with a rare revival of ‘Metamorphoses,’ the multiple award-winning theatrical event from MacArthur ‘Genius’ grant recipient Mary Zimmerman. On stage from May 14 through June 5, with previews beginning on May 8, this elaborate and much anticipated production is helmed by Producing Artistic Director Julia Rodriguez-Elliott.

Comedy, romance, and poetry abound as ancient tales about Midas, Orpheus, and Aphrodite come to life for a modern audience. Adapted from David R. Slavitt’s free-verse translation of ‘The Metamorphoses of Ovid,’ the play takes place in and around a swimming pool that stands in for locations that include a wash basin, the River Styx, and the sea. The characters – gods and mortals alike – endure love, loss, and transformation while immersed in a pool of water.

A cast of nine resident artists (RAs) takes on over 85 roles in six Greek myths: DeJuan Christopher (Seven Guitars); Geoff Elliott (ANW producing artistic director); Rafael Goldstein (‘All’s Well That Ends Well,’ ‘A Christmas Carol,’ ‘Alice in Wonderland,’ more); Nicole Javier (‘All’s Well That Ends Well’); Kasey Mahaffy (‘All’s Well That Ends Well,’ ‘A Christmas Carol,’ ‘Alice in Wonderland,’ more); Sydney A. Mason (‘A Christmas Carol,’ ‘Seven Guitars’); Trisha Miller (‘All’s Well That Ends Well,’ ‘The Winter’s Tale,’ ‘Argonautika,’ more); Cassandra Marie Murphy (‘Argonautika,’ ‘Henry V,’ ‘Man of La Mancha‘); and Erika Soto (‘All’s Well That Ends Well,’ ‘Alice in Wonderland,’ ‘Frankenstein,’ more).’

The ensemble | Photo by Craig Schwartz / A Noise Within

Production stage manager Amy Rowell leads the creative team of scenic designer François-Pierre Couture; lighting designer Ken Booth; composer and sound designer Robert Oriol; costume designer Garry Lennon; properties designer Shen Heckel; fight choreographer Kenneth R. Merckx, Jr.; and dramaturg Miranda Johnson-Haddad.

Interviewed by phone, Rodriguez-Elliott tells us what ‘Metamorphoses’ is about. “Mary Zimmerman took nine vignettes that share a common theme of transformation. They deal with love, loss, selflessness, generosity, greed – and they’re all incredibly human. She has a wonderful ability to bridge the ancient and the modern so the stories feel very much of the here and now.”

“In this moment that we’re living – when the world is undergoing extraordinary change – that could be painful or it could be joyous,” explains Rodriguez-Elliott. “And ‘Metamorphoses’ is the perfect play for us to end our season with its theme of exploring the joys and perils of change.”

“Mary first wrote it when she was teaching at Northwestern,” Rodriguez Elliott enlightens. “It had a different title the first time it was presented. And while she envisioned a body of water in it, there was no water for that particular show.”

Rafael Goldstein | Photo by Craig Schwartz / A Noise Within

Rodriguez Elliott, who previously directed ‘Argonautika’ at ANW, discloses that she has never seen a production of ‘Metamorphoses’ – which gives her the opportunity to make it her own. “Mary has a very specific style in her plays and the way that she writes really speaks to me. She has an ensemble that she works with, not unlike what we have, so these are people that really speak her language. However, even though a lot of her work has her DNA she leaves it quite open for the director – you could find your own voice within it. This is the second Mary Zimmerman play that I’m directing, and I found that to be the case.

“The marvelous thing about her plays is that she puts on stage what is seemingly impossible to stage. For instance, she would have a direction that says ‘And now there is a battle in the water.’ You, as the director, will visualize how this battle is articulated in a theatrical way. You have clues in the text as to where things are taking place, but you have to create it and imagine it yourself in a way that feels personal to you as an artist.”

“I love plays that are about voyages and journeys and the whole element of the water in this play is so thrilling,” adds Rodriguez-Elliott. “On the first day of rehearsals in the theatre and the play started coming to life with actors being in the water, I was so excited I couldn’t sleep that night when I got home!” 

ANW is renowned for presenting plays in repertory, which they deviated from. Rodriguez-Elliott says, “Because we had to have a pool for this production, this spring season our plays were all straight run. The set will sit there for the five weeks that the show runs in. It may not be the most complicated set that we’ve ever done, but it’s challenging in the sense that you’re dealing with concerns like: is the water warm enough for the artists – you have change stations off stage that actors can warm up after they’ve been in the water; there’s a cleaning procedure that comes with temperature…  all those things need to be addressed. 

“Also, we all know as homeowners that water can have all kinds of consequences if they go in the wrong place. A lot of it is about containing and insulating the pool in the appropriate way. There are also concerns about what surface to have in the pool so no one slips – do the actors wear shoes or not. As to costumes, there’s a choice between synthetic versus cotton, because of what cotton does in terms of fibers being in the pool. All these have to be considered and they impact just about every designer on the show.”

Trisha Miller and DeJuan Christopher | Photo by Craig Schwartz / A Noise Within

ANW’s production of ‘Argonautika’ before the pandemic enjoyed critical acclaim. It’s only fair to assume that every one of their resident artists wanted to be a part of ‘Metamorphoses.’ Asked how she selected the actors among their very talented RAs, Rodriguez-Elliott answers, “It’s like with any casting – you have to cast appropriately for the needs of the role and show. The actors were definitely very excited especially because we announced it two years ago but we had to postpone it because of the pandemic.

“Like ‘Argonautika,’ it’s a very demanding show. It’s very physical and it takes a lot of stamina to get through it. But the actors love it. And it’s wonderful that a lot of us have worked together for so long that they know how I work as a director. It’s a lot easier to get where you want to get to when people are able to jump and dig in fearlessly and with a whole lot of trust. I trust them and they trust me, so we’re able to do so much.”

Rodriguez-Elliott says further, “The actors who were already cast when we first announced it had the time to think about it, had lived with the play, and had the desire to do the play for a very long time. We didn’t bring back all the shows that we postponed, but this was something we really wanted to do. However, as you might imagine, we did it late in the season because we thought if we were still implementing safety measures we had to consider all the protocols around water and all the attendant challenges.”

“This is a play that celebrates theatricality and the magic of theatre,” Rodriguez-Elliott declares as the audience takeaway. “It speaks to us about the things you can only do on stage and nowhere else. It’s a production unlike any other we have ever seen – the element of water on stage is almost another character in the play. I think there are so many moments that are thrilling just in terms of how the water behaves and how the actors interact with it. Additionally, we have an original music score for it and an exquisite design team. I think the set is one of the most beautiful I’ve seen on our stage. Ken Booth who’s our lighting designer is doing extraordinary work.”

“In this moment that we’re living in, this play commemorates the power of love, change, and the opportunity to change. And I think that’s therapeutic right now,” Rodriguez-Elliott emphasizes.

Asked what it meant to have audiences back in the theatre for ANW’s 30th anniversary, Rodriguez-Elliott replies, “Everything that we have ever done in the theatre is about community. And what we realized during the pandemic is how essential that community is to us and to the work, and how much we missed it. So having the opportunity not only to return, but to be returning during the 30th anniversary season and rejoicing as a community the accomplishments of the organization, is very moving.”

Erika Soto and Kasey Mahaffy | Photo by Craig Schwartz / A Noise Within

Coinciding with ANW’s 30th anniversary is their 10th year in Pasadena. Rodriguez-Elliott marvels as she relates what that’s like, “Can you believe it?! Again, you have to go back to community; you really have a sense that the community in Pasadena is tangible. I felt it from the first moment that we opened the theater. The value that they place on the arts as a quality of life issue isn’t something you see in every city. Pasadena is home – we’re not going anywhere.”

As to ANW’s plans for the next decade, Rodriguez-Elliott states, “We’ll continue to experience tremendous growth and there are a number of directions that growth can take. For us it’s embracing that journey – whether that means enlarging the physical plans or expanding programming, which includes our work in diversity, inclusion, and accessibility that’s very necessary.

“We’re bringing voices that have not been part of A Noise Within’s stages until now. We have the Noise Now Program where we invite the community to participate in events. We’ve developed wonderful relationships with other artists and organizations and that will continue to expand the definition of a classic for us. We have this beautiful campus and we’re able to use it in its totality – whether it’s outside, the lobby, the rehearsal space upstairs – in bringing other disciplines. We’ve had dance, music, art exhibitions that the place becomes a welcome environment for all.”

Rodriguez-Elliott describes ‘Metamorphoses’ as celebrating the magic of theatre. It could very well pronounce A Noise Within’s significant contribution to our community in the last ten years. It is organizations like them that endow Pasadena with the arts and the culture that are the city’s defining attractions.                 

A Spectacular ‘Argonautika’ Sails at a Noise Within

/ May S Ruiz / Leave a comment

Originally published on 22 April 2019 in the Pasadena Independent, Arcadia Weekly, and Monrovia Weekly

Veralyn Jones (left) as Hera and Trisha Miller (right) as Athena | Photo by Craig Schwartz / A Noise Within

Pasadenans have until May 5 to catch A Noise Within’s (ANW) spectacular production of ‘Argonautika,’ before it sails into the sunset. An epic theatrical journey by Tony Award-winning director and playwright Mary Zimmerman, it made its world premiere in 2006 at Chicago’s Lookingglass Theatre.

Directed by ANW’s Producing Artistic Director Julia Rodriguez-Elliott, ‘Argonautika’ is a modern take on the classic Greek myth ‘The Voyage of Jason and the Argonauts’ which tells about his quest for the Golden Fleece. It features an ensemble of multi-talented actors led by Ty Mayberry as Jason, Trisha Miller as Athena, Veralyn Jones as Hera, and many others.

In this story, the Greek goddesses Athena and Hera are collaborators in their common goal to help Jason. Miller and Jones share scenes for the better part of the show and have such a wonderful time. On a recent mid-morning, they chat with us about this production, their roles, and how proud they are to be on the show.

As if proving just how in sync they are, Miller and Jones exclaim at the same time, “We had never been on stage together before now, we met at the audition.”

“Veralyn and I bonded from day one, which was great because so much of the challenge of the show was trying to figure out who we are in this mix,” begins Miller. “There’s such an interesting order in a show like this where there are immortal goddesses and semi-gods. And then there are the Argonauts. The first couple of weeks of rehearsals we had so many conversations about what exactly does it mean to be a goddess.”

The interaction between Miller and Jones on stage is such a delight to watch as they seem like two friends who are comfortable with each other. And, as in true relationships, there are bound to be some disagreements. There’s one scene when the displeasure on Athena’s face is utterly hilarious to behold.

“Our characters have little spats throughout the show because we have completely different ways of approaching the problem,” elucidates Miller. “Athena is very methodical, she’s very much into strategy and she’s an anti-romantic. So when Hera comes up with the idea to go to Aphrodite, Athena thinks ‘That’s the last person I want to see at this point.’ Hera uses love to get Medea to go along with their plan, and Athena’s thinking ‘Oh this is going to be a terrible idea.’ I loved showing not real anger but playful exasperation.”

Jones pipes in, “Exactly! Like you say, Athena’s all methodical. And I think Hera is all emotion, she’s very vengeful. That’s such an amusing dynamic.”

Both Jones and Miller credit Rodriguez-Elliott for this show’s unique vision.

“In the published version of the script, Mary Zimmerman wrote that she struggled whether or not to put how she created all these monsters in the first production because she said so much of the fun of theatre is problem-solving and figuring things out,” Miller explains. “I think this was the perfect show for Julia because what she does best, I think, is coming up with a lot of inventive design and movement. And that’s the magic of this show!”

Ty Mayberry (left) as Jason and Angela Gulner (right) as Medea | Photo by Craig Schwartz / A Noise Within

“It’s interesting, you said that,” observes Jones. “When I first read the script, I wondered how Julia was envisioning how everything that’s in the script was going to materialize on the stage. Then there are also moments when we appear some place by flying in. Not having seen the production before, I tried finding photographs but there wasn’t that much out there. So, as an actor, you just have to wait and trust that the director has a vision, and she did. Not being in her head, you don’t know initially how all this is going to happen. But as we started rehearsing, and day after day, it was very clear for her. She just kind of put it out there and somehow we got it; it all came together.

“They did a lot of pre-production work; I think she said they had been working on this for five months prior to rehearsals. She had all hands on deck for this show. It’s a huge production! People told me when they saw it they had no idea they were coming in to see all the acrobats and gymnasts – someone falling from the sky and all that. There’s even a dragon, and I’m always so charmed by that dragon.”

Miller discloses, “Julia mentioned before that Mary Zimmerman’s work has a very strong directorial DNA to it in how she writes and uses her actors. I had done her ‘Metamorphoses’ before at a theatre in Dallas and it has the same sort of style to it. I joked to Julia one time that I’ve been chasing the Mary Zimmerman dragon ever since because I had so much fun doing that production. There’s so much humanity and camaraderie in her work too. This story is so much about determination and that meshes with what we all love about doing theater in the first place.”

“… Being able to collaborate in ensemble work,” interjects Jones. “We’re part of something bigger than life. That’s what I love about this show – the idea that we’re all in this to start the process and finish it. Everyone’s in sync; that’s true ensemble work. I see those Argonauts out there and how they throw their bodies into what they’re doing. I’m in total awe of the production I’m in, which I find exciting.”

“You’re absolutely right,” concurs Miller. “There are moments when there’s such precision in this show so that, like you said, if any movement is off, it takes so much focus from everybody. There’s one point in the show right when the ship launches and I’m up on the bridge with all the Argonauts and they start rowing … there’s all this movement and choreography that’s so precise. People are jumping down from the bridge and climbing up and down ladders, it’s to the second – you have to be precise. And it’s really, really difficult, but when it all comes together there’s no greater feeling in the world.”

“The scope of this production is bigger,” Miller claims. “I didn’t see the original ‘Argonautika’ but I do know that they didn’t use silks. The sea monster was completely different – I think it was just fabric and two eyeballs. I believe Mary Zimmerman only had a month to write and put it together, which is how she usually works. I think the benefit of us having more time is that Julia was able to find and use all the talent she needed to realize her vision. She has a cast that includes Marc (Leclerc), who’s actually a stuntman and can come down from the rafters, Cassandra (Marie Murphy) who can sing and act while she’s hanging upside down from a silk rope, and Richy (Storrs) who can play every instrument you hand him. She brought in a movement coach, Stephanie Shroyer, and Ken (Merckx, Jr.) who’s the fight choreographer.”

“This piece is really made for ANW in terms of how they want to utilize their physical space on and off the stage,” Jones supplies. “This is the big type of ensemble work they like to do; although this is far more ambitious than anything I’ve seen them do. That they have two other shows in repertory just makes it all the more incredible.

“It’s crazy backstage. There’s as much going on there as on stage. We only have three crew members and they do so much – running to get us what we need, move props and sets. They’re also the dragon puppeteers and they have to light the lanterns. They are multi-tasking in a big, big way.”

The ensemble | Photo by Craig Schwartz / A Noise Within

Asked if Rodriguez-Elliott gave specific directions in what she wanted to see from each character, Jones responds, “You, as the actor, have to come in with the knowledge about the character and bring that to her so she can direct you. She clarified that Hera is a goddess and that she’s the queen of heaven. So my task is to figure out how to play that physically and emotionally in world of this play. For me, the character unfolds itself as I go along. What I learn about the character informs me how to perform it for the audience.”

“For me, Athena has such a strong point of view about how she approaches things,” answers Miller. “She wants to think things through before making a decision, which is completely different from Hera’s. That’s a fun dynamic to have. But also, it was really helpful for this show knowing what our costumes were going to be like from the beginning. On the first day of rehearsal, our costume designer Jenny (Foldenauer) gave a presentation so we knew what we were going to be wearing. All the armor that Athena’s wearing gives the feeling that she’s powerful but, at the same time, it also restricts movement. So, for me, a lot of that was finding economy of movement and stillness. I think that also reflects who Athena is, someone with an intense focus. Part of my rehearsal process is just paring down my action and making everything  purposeful and well thought-out.”

As to what they want the audience to feel when they leave the theatre, Jones declares, “Hera has a sense of who she is. Right or wrong, she goes after what she wants. I want women in the audience to be empowered – to know that she has the ability to take her destiny in her own hands. I’d love for women to feel they could rule – that they could take their own power and do with it what they will. I’d love for them to have that sense of ownership of purpose in their physical and emotional power. Hopefully, it’s directed in the right way.”

To which, Miller says, “That’s a good answer and it’s true. All three of us here are actually parents to daughters and that’s so much more important for me now – to play strong female characters for young women to emulate.

“Let me add that our dramaturge Miranda came in to talk to us about Greek mythology and the characters and what she found in this play that was important ,‘The whole play is about the humanity, the dogged determination, and the camaraderie within this voyage, and community to take care of each other.’ That’s so much what I hope people leave with. And I think the last scene of the play’s so beautiful where the Argonauts become the stars and constellations. They went on this great journey that they were so uncertain of, but they did it. They pulled together through sheer will, camaraderie, and determination. They were able to take control of their destiny and they’re still watching over us. I’m so proud of this show and it’s thrilling to be part of it.”

This could very well be ANW’s most extravagant production yet – complete with an actor dropping down from the rafters, another one singing as she hangs upside down from a silk rope, an unexpectedly likeable dragon, and a ferocious sea monster. It is a feat of inventiveness and creativity that is sure to entertain and please an audience used to lavish sets. That ‘Argonautika’ also imparts a message of empowerment for all women only makes it a show no one would want to miss!