Metamorphosis (2017/2018)

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"It's a performance that reminds us how Kafka's peculiar, existential anxiety continues to haunt us... a fantastic vehicle for revealing the dynamics of Brechtian or Epic theatre”

Manchester Evening News

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"haunting... genuinely moving "

The Manchester Review

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"a brilliantly fresh look at the original text... I was smiling with admiration all the way through."

Simon Meredith, Drama Teacher,
Twynham School

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"The performance was absolutely captivating... The post show discussion was honestly the best I have ever experienced."

Marie Hood, Head of Drama,
Newent Community School

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"The performance was fantastic as always! The students were really moved and inspired by it."

Nicola Schoonderwoerd, Head of Drama,
Tewkesbury School

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"It was witty, tender, and visually beautiful.”

Caila Carr, Subject Leader of Drama,
City of Norwich School

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"It was excellent to see the Brechtian style being performed in such an innovative way... students may borrow the techniques to apply to their own devising process."

Kirsty Simpson, Teacher of CEA,
Retford Oaks Academy

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"The performance was stunning. The precision of physical movement and creation of ensemble was beautiful."

Ross Geoghegan, Head of Drama,
Cotham School

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"Our pupils were both entertained and challenged.”

Jannette Bloor, Director of Drama,
The Grange School

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"Your creativity is inspiring to both us as teachers and students. You prove that theatre has no limitations."

Aoife Gibson, Drama Teacher,
Berkhamsted School

A_Story
Alarm_Clock
Am_I_Normal
Apple_Bernard
Army_Gregor
Beards_Curious
Beards_Gregor
Bernard
Bernard.vs.Grete
Bernard_Throw
BOXES
CC_Bernard
CC_Visit
Charwoman
Chief_Clerk
Day_One
Definition_Shame
Enough
Family_Samsa
Father_Daughter
FMW
GoodbyeGregor
Grace_Insect
Gregor
Gregor_Crawling
Gregor_Day1
Gregor_Routine
Gregor_Shock
Greta_Johanna
Grete_Bernard
Grete_Violin
Jim_Gregor
Johanna
Johanna_Shame
Met_opening
Metamorphosis
Nice_Tree
Normal
Routine_Scott
Scott_Story
Shame
The_Novel
VHW

  Scott Smith, Grace Goulding and Jimmy Whiteaker in Splendid’s 2017 production of Metamorphosis (photos: Lewis Wileman)

Are you normal?

Gregor Samsa is. He has a nice normal job and a nice normal family and lives in a nice normal house with normal wishes and normal dreams and a nice normal future to look forward to.

That is until the day he wakes to discover he has turned into a giant insect.

In a new creative adaptation, Splendid Productions get their scrabbly little insect legs on Franz Kafka’s chilling story of dislocation, mutation and isolation and transform it into a slithering, creeping, wriggling, delightful, comical, tragical, musical, physical theatrical adventure for everyone who has woken up wondering: has the world changed, or is it just me?

Theatre tour poster design: Ben Hales

Splendid Productions’ ‘Metamorphosis’
Toured Sept 2017 – March 2018
Written by: Franz Kafka
Adapted by: Kerry Frampton
Directed by: Kerry Frampton, Matt Wilde
Songs by:  Kerry Frampton, Ben Hales
Design by: Kerry Frampton

Cast & Characters

Grace Goulding: Gregor, Curator, Grete, Chief Clerk
Jimmy Whiteaker: Gregor, Curator, Mother, Fur Muff Woman
Scott Smith: Gregor, Curator, Father, Charwoman

with thanks to:
Mal Smith, Lucy Cuthbertson, Shermaine Slocombe, Corelli College and Tanya Muchanyuka

More about Metamorphosis

Metamorphosis DVD
£35
Metamorphosis script
£15
Metamorphosis Education Pack
£12
Metamorphosis Super Pack
£55

“It absolutely exceeded our expectations… This version was such a brilliantly fresh look at the original text that really got over many of the same messages in such an excitingly interesting way. I was smiling with admiration all the way through, and the students found it accessible and fun.”
Simon Meredith, Drama Teacher, Twynham School

“The performance was absolutely captivating and, as this was our first time of booking Splendid, has really opened our eyes to the fantastic work that you do… The post show discussion was honestly the best post-show I have ever experienced. Responses were honest, engaging and inspiring!”
Marie Hood, Head of Drama, Newent Community School

read more…

“It absolutely exceeded our expectations… This version was such a brilliantly fresh look at the original text that really got over many of the same messages in such an excitingly interesting way. I was smiling with admiration all the way through, and the students found it accessible and fun.

Your guys tailored the content to different years and what those different years needed to get from it. They seemed well aware of curriculum demands which was very good and helpful… Our main focus was to have a live performance for years 11 and 13 to write about in their exam. The performance was so rich content regarding performance style, character and conventions. It has given them plenty of ‘moments’ to talk about and analyse.”
Simon Meredith, Drama Teacher, Twynham School

“The performance was absolutely captivating and, as this was our first time of booking Splendid, has really opened our eyes to the fantastic work that you do… The post show discussion was honestly the best post-show I have ever experienced. Responses were honest, engaging and inspiring!”
Marie Hood, Head of Drama, Newent Community School

“The cast had to produce two workshops for differing age groups and they adapted their workshops incredibly well for the needs of the students. The workshops were interesting, engaging and the students learnt a lot.”
Kathryn Moore, Head of Drama, Gordon’s School

“We have loved it every time you’ve come in – always high quality performances providing lots to discuss and explore. The students love it because it’s always funny and clear and gives them ideas that they can use in their devising. Also the fact that year 11 can use it for their exam takes care of a lot of logistical problems in trying to get them all out to the theatre!… [The session was valuable] particularly with year 11 who will be writing about the production in the Live Theatre Evaluation section of the exam. The performance gave a lot to discuss and analyse, with a clear purpose and effect behind creative choices. The workshops were a great opportunity to clarify and explore some of those points. The teacher pack has a lot of useful supporting information too – particularly on use of practitioners and design choices.”
Vanessa Sharpe, Drama Teacher, Kennet School

“The performance was fantastic as always! The students were really moved and inspired by it… This is very useful for the A Level groups. The 13s benefit from seeing it before their exam and the 12s are using some of your rehearsal techniques to create big, bold characters as a warm up for their performance piece.”
Nicola Schoonderwoerd, Head of Drama, Tewkesbury School

“It was witty, tender, and visually beautiful.”
Caila Carr, Subject Leader of Drama, City of Norwich School

“The performance more than met our expectations. The cast were fabulous and the students were so inspired by all they saw and continued to talk about the performance and the subject matter for many lessons… It has supported the unit 1 of the BTEC National and also Unit 6 as the students have decided to use Splendid as their practitioner, Component 1 of Educas A Level for the reinterpretation unit.”
Cath Pepper, Head of Drama, Stuart Bathurst Catholic High School College of Performing Arts

“It was excellent to see the Brechtian style being performed in such an innovative way and with such ease that students may borrow the techniques learnt to apply to their own devising process… The performers were very professional and the theatre performance was excellent. They made the experience stress free.”
Kirsty Simpson, Teacher of CEA, Retford Oaks Academy

“The performance was stunning. The precision of physical movement and creation of ensemble was beautiful. The absurd nature of the narrative coupled with its simple storyline suited Splendid’s style perfectly. The cast were magnificent, a taut, meticulous group who brilliantly told their story… The performance itself will work brilliantly for the students to write about in their written exam. The education pack does an excellent job of filling in the gaps in their knowledge and understanding… I am really excited to see what comes next”
Ross Geoghegan, Head of Drama, Cotham School

“Many thanks to Grace for providing a fantastic workshop and really pushing our students… It’s great that Splendid are so self sufficient; the booking process is really straightforward and requires minimum paper work and upon arrival all I did was meet the team at reception and they did rest!”
Lizzie Young, Head of Drama, St Lawrence College

“One of my all-time favourite Splendid performances. Just the right balance of spass and emotional detachment. Story-telling of an extremely high and innovative calibre delivered by three incredibly talented actors. Our pupils were both entertained and challenged.”
Jannette Bloor, Director of Drama, The Grange School

“Even though we have a workshop each year this was again new material and very much enjoyed by our sixth form students… high expectations and energy pushed our students to achieve a great deal in 90mins… The performance supports the Live Theatre section in the written exam at both GCSE and A-Level. It is brilliant that we are then able to order the DVD to go back over key moments to support the detail in their writing… It is a repeat booking each year due to the continued excellence on the day.”
Sally Foley, Subject Leader for Drama, Chelmsford County High School for Girls

“Your creativity is inspiring to both us as teachers and students. You arm the students with so many ideas and prove that theatre has no limitations. We love how you prove to them that you can make amazing pieces of theatre with very little set, props, lighting and that it is all about the story, the characters and the delivery.”
Aoife Gibson, Drama Teacher, Berkhamsted School

Press on Metamorphosis

“It’s a performance that reminds us how Kafka’s peculiar, existential anxiety continues to haunt us… a fantastic vehicle for revealing the dynamics of Brechtian or Epic theatre”
Manchester Evening NewsRead the whole review…

Metamorphosis, The Lowry Quays Theatre, Salford, 16 November 2017
Reviewed by Manchester Evening News

Like Kafka’s famous novella, Splendid Productions’ presentation of Metamorphosis is short; just more than an hour in fact. That’s about right for a story that gets somewhat stuck in the problematic rut its premise suggests.

Splendid is a specialist in educational theatre and this production is a fantastic vehicle for revealing the dynamics of Brechtian or Epic theatre to the uninitiated. This has not gone unnoticed by schools and we were surrounded by youngsters from an academy in Rishton for this performance ­the final of a two-day run.

Kafka’s tale of a salesman who wakes up to find he has been transformed into a ‘cockroach’ is a powerful allegory of despair. This performance alludes to the fact that it still resonates with anyone who might feel a little under the weather thanks to the heartless repetition of work. And that’s pretty much everyone.

“I spent the day in bed,” sang Morrissey recently in a song which urges workers to forget the commute and the emasculation of being an employee at least just for one day. Unfortunately Kafka’s ‘hero’ Gregor Samsa spends rather longer than that confined to his grimy quarters.

It’s also a story about people ‘making choices’ we are told by the nerdy, box-ticking chorus; the three actors who together present all of the action on a sparse stage set but in a dynamic, sometimes non-linear fashion.Props, kept in props boxes, are limited to paper bags which form masks, rope, and a bed sheet hung up at the back of the stage.

The ‘Choices’, it is suggested, are informed by ideas of what is normal. Am I normal? Are you normal? They keep asking the audience. Their absurdist humour is enlivened by lounge jazz muzak but countered by moments of fear and horror. This is encapsulated by the pathetic and disturbing insectoid murmurings of Gregor the cockroach which they record together at the beginning of the show. He is decidedly abnormal and there are moments when the sadness of his desperate isolation is captured in a bleak poignancy.

It’s a performance that reminds us how Kafka’s peculiar, existential anxiety continues to haunt us.
[Andy Cronshaw]

“Splendid delivered… the audience remained transfixed”
North West EndRead the whole review…

Metamorphosis, The Lowry Quays Theatre, Salford, 16 November 2017
Reviewed by North West End

Splendid Productions bill themselves as a theatre company and an education company. The Quays Theatre at The Lowry filled up to bursting with young theatre students and I think Splendid delivered.

Kafka’s Metamorphosis is a story of Gregor Samsa who wakes up one morning to find out he’s turned into a giant insect. Kerry Frampton’s adaptation of the originally claustrophobic and dark tale is much lighter and accessible, lovingly transcribed into a production suited for younger eyes.

The house lights remain on for this relaxed performance, more of a workshop than a night at the theatre, as the well-rehearsed trio unpack Metamorphosis via Brechtian stylistic techniques and hyper-characterisation. Although the famous Berkoff adaptation wasn’t directly referenced by Splendid, it is highly influenced by his work and uses the same direct breaking down of the fourth wall, choral vocal techniques, and stylised movement.

As with any workshop style performance audience interaction was inevitable. From the start the performers were greeting the audience on the door, they were asking the audience questions throughout and even had a couple of members up on stage with them. The engagement tactics worked well and the audience remained transfixed on the stage for the whole hour performance.

Sound was used very well in the adaptation. The trio used a loop pedal to live record some of their soundscapes, which was particularly great to create the muffled non-human noises of Gregor as an insect. Vocals were great as each character had a distinct well-defined accent and even explored song for the great character of the ‘lady in the painting on the wall’. Staging and props too were very cleverly utilised and true to style with heavily stylised and minimalistic non-props like rope and sheets to make up a variety of the scene setting.

The adaptation was comical most of the time, but occasionally some of the melancholy of the original was allowed room on the stage. The theme of ‘What Is Normal?’ recurred and resonated with us all and helped us to envisage Gregor Samsa’s transformation as one in our own lives.

The performance was like watching a top level GSCE theatre studies essay on stage and via a multitude of creative mediums including sign language and song. I would highly recommend Splendid Productions for workshops in schools and to promote learning through the arts.
[Jo Flynn]

“… genuinely moving, pitiable and haunting”
The Manchester ReviewRead the whole review…

Metamorphosis, The Lowry Quays Theatre, Salford, 16 November 2017
Reviewed by The Manchester Review

Nobody is sure whether the performance has started. The house lights are still on. There is generic light jazz muzak playing through the sound system at a tasteful volume. The three actors, if they are the actors, are waving and pointing at the audience making quizzical or funny faces and geekily taking notes in small notebooks, ticking off unknown criteria. Now they wander into the audience shaking hands, hi-fiving, conversing. Or they approach the single microphone on stage, marked with a hand-written cardboard sign saying ‘microphone’ in felt tip.

Everything on stage, pretty much, has its own similar sign. Props that are just boxes are labeled as ‘Props’, ‘Story’, and there is a crude model building emblazoned with ‘Samsa’. It’s unclear if this is some sort of gesture towards semiotics and semiology, but the connection crosses the mind, especially when considering this play’s subject matter, Franz Kafka’s Metamorphosis (Die Wervandlung) and their emphasis at the start on the dictionary definition of that word.

After what is referred to as an ‘Am I Normal? Interlude’ where the actors each ask the audience a random question, pulled from a small box containing many more, to ascertain how normal they are, before bringing up audience members to ask more, the play, presumably, begins. This is made somewhat clear when the recognisable opening lines of Kafka’s novel are read out in a not particularly serious tone and a long banner with ‘Metamorphosis’ written across it is unfurled.

Brown and beige are the preferred colour scheme here; from the costumes to the props it’s all quite drab. Perhaps this is designed to emphasise the Samsa family’s life of dull routine and repetitive servitude in middling level work. Despite this basic set-up the production’s inventive and immersive approach ensures that many aspects of Kafka’s story are imparted during the short one-hour duration of the play, although this demands some imagining from the audience. Most of the stage is put to good, clever use. The sheet hanging at the back is pulled out and taught to become a table. Rope is used to form doorways and a sash window. Countering this there are also moments of vivid colour when the actors throw multi-coloured fake money around to demonstrate the reliance of the Samsa family on Gregor’s wages, their relative financial elevation and their later diminished circumstances after his transformation and the loss of his job.

Other instances of this kind of spelled out demonstration occur. There is a tendency throughout the play for the actors to simplistically and one-dimensionally describe or narrate each characters’ feelings or status in extremely obvious ways which intrudes on and interrupts the entertaining sequences delineating Kafka’s absurdist narrative. This kind of explaining doesn’t truly capture the fundamental complexities of the world and the people who inhabit it that the author builds, a world of both banal normality and the concern-inducing aberrant. Maybe this is simply successful use of Brecht’s Verfremdungseffekt in the creation of a purposeful barrier between fictional source material, performance and audience. Undoubtedly the Brechtian influence is felt with fragmentation, interruption and the way the house lights stay on for the whole duration of the play. Dimming of the lights is in itself a huge part of the experience of ‘normal’ theatre.

There is some terrific physical acting throughout the play from all three actors. Their versatility and fluidity is impressive and the comedic set pieces and sequences of singing that the adaptation relies upon are fluid and tight. When Gregor’s father for instance finally flips, tires of his son’s and his own failure to process what has happened and fatally throws a few apples at Gregor the actors use a great slow-motion effect and the power of the moment is keenly felt. Scott Smith is particularly good in all the roles he takes on, freakishly stomping around, ape like as the father and wonderfully outlandish as the cockney accented charwoman. There is a sympathetic or empathetic involvement with Kafka’s story here through the production’s choppiness and the disjointed, interrupted approach. The actors also become objects found around the Samsa house, a portrait of a beautiful woman, an alarm clock, a wardrobe. The effect is like a comedy sketch show dumped in the middle of a theatrical adaptation. The actors work interchangeably throughout sharing some roles in the Samsa family, notably Gregor and the father. When the family takes in three bearded lodgers the actors make the universal symbol for beards with their hands and strike haughty poses. This is very effective use of mime, gesture and suggestion, techniques that are fundamental to the performance.

Circling back to tonight’s audience, it is comprised of what feels like the majority of Manchester’s GCSE and AS Level students who have been streaming into the Lowry from a succession of coaches and mini buses parked up, motors trundling, outside opposite the outlet mall. Kerry Frampton’s version of Metamorphosis, from its deliberately disruptive pre-amble to its conclusion, is designed for these secondary school age groups. Take the ‘Am I Normal’ questions: ‘I really like the smell of my own farts…No. I really like the smell of my own farts. Am I normal?’ or ‘I have to compulsively eat every sweet of the same colour from a packet together…Am I normal?’ These are indicative of the fact that Splendid Productions’ modus operandi is to create theatre for and to engage young people: ‘We create challenging, vibrant theatre for young people, and we provide expert training in all areas of drama from Practitioner theory to Presentation skills.’

Founded in 2003 the company annually adapts a classic play and tours the country’s schools, colleges and evidently some theatres to both educate and entertain. Part of the point of the show is to highlight techniques for English and drama students such as Brechtian episodic structure, physical storytelling, choral precision, breaking the fourth wall, exaggerated characterisation, music, mime and puppetry. These feel slightly forced and unnatural at times in the larger dramatic sense, but that is part of the point of the exercise and should be bourne in mind, and the company deserve recognition for their efforts to elucidate such things in inspiring new generations into the theatrical arts. The attendant kids are clearly and eagerly engaged with this, shouting out answers to those questions and noisily reacting to events on stage.

Like the stage set, Kafka now also has his own well-known piece of linguistic signage; many people, knowingly or unknowingly will use the adjective Kafka-esque to explain or describe something, a life situation, an occurrence, a work of art. Splendid’s adaptation of the novel knowingly plays on this thoroughly utilising the above techniques; the actors in bouts of mock pretence all overly articulate the words in a sort of whisper. ‘Oooh Kafkaaa. Oooh’, ‘Metamooorphosis’. It’s ridiculous, a little bit derisive, very funny in places and obviously appeals to the age group. The emphasis is strongly on comedy and humour throughout the performance.

This is problematic however. Metamorphosis, while certainly amusing at times, by way of darkly absurd comedy, is also horrific, grotesque and melancholic. This side of Kafka’s writing isn’t really evident enough in the play, weighted as it is more towards lightness and humour. There are isolated things, or sequences, that touch on Kafka’s disquiet and the tragedy, or tragic-comedy of the Samsa family. The insect noises that the actors make into the microphone using an effects pedal are quite disturbing and a poignant soliloquy is given to Gregor which details ironically, how human he feels now after the change and as a result of his insectoid captivity. This is recited over a plaintive pre-recorded violin solo. To symbolize Gregor’s new form the actor in the role wears a large paper bag over their head with what I guess we now refer to as ‘sad face’ or ‘sad emoji’ holes cut into it. This speech is genuinely moving, pitiable and haunting, and the bag over the head, which all the actors wear at several points in the guise of all the family, turns from something trite to a more genuine visual emblem of loneliness, distress and marginality.

These issues aside, the troupe do a lot with very little which in many ways suits the brevity of Kafka’s text and its spare style. It’s an abbreviated, more focused telling of the story than the original that zeroes in on the central figure of Gregor in his crisis moment. Doing so some key episodes are left out or glossed over, the full details around Gregor’s death for example, and the small but telling section right at the end of the work with the Samsas on the tram to the countryside so easily forgetting what has happened in their home. The way that Splendid’s efforts adeptly zoom in and out on each character and the wider events, their energy, infectious spirit and mobility are admirable though.
[Simon Haworth]

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