Thursday 21 September 2023


 Curve, Leicester

20th September, 2023

C’est la vie

Metamorphosis is perhaps just as well-known for its stage history as it is for Franz Kafka’s 1915 novella. The peculiar story of Gregor Samsa whose daily routine is interrupted when he wakes to find himself turned into a bug has long been associated with practitioners like Brecht and Artaud, making it a popular text for students. Steven Berkoff’s landmark adaptation in 1969 has cast a long shadow over the piece – even I studied it at A Level 40 years later. Thankfully, Frantic Assembly (in a co-production with Curve, Theatre Royal Plymouth, MAST Mayflower Studios and Lyric Hammersmith Theatre) have transformed the piece for a new generation in an adaptation by the poet and playwright Lemn Sissay. In typical Frantic Assembly style, Scott Graham fuses movement, language, lighting and sound in a startling production which makes the familiar strange and the strange familiar.

‘My name’s Mr Samsa and I love fabric’, our protagonist beams as he wakes up each day. A slave to the drudgery of his work routine, it takes all of Gregor’s strength to summon the energy to drag himself to work each morning. But still, he extends a hand and beams ‘My name’s Mr Samsa and I love fabric’. We see this repeated several times, each morning slightly more difficult than the last. The toil of Gregor’s life working to pay off the debt is made clear. It’s a funny line, befitting of a strange play. After hearing it so many times, it prompts us to think how his routine and job are so closely and depressingly interwoven with his identity. Each time we see this play out, we notice something new each time. His slow transformation has started into something more bug-like (although, cleverly, this is never explicit). His rehearsed handshakes (part of his daily performance as an important businessman) start to become more tense, his head movements twitchier, his limbs less reliable. Soon enough he’s crawling on the floor in search of his briefcase. ‘Fabric’, he mumbles as he picks it up, his work so ingrained on his mind. Felipe Pacheco gives an incredibly physical performance filled with detailed idiosyncrasies as Gregor: every muscle from the tips of his fingers to his toes are engaged. His voice work is also notable: the epitome of stifled, British optimism morphing into more animalistic cries as his desperation intensifies.

At first, his metamorphosis is something he resists and is able to hide. His family (Troy Glasgow and Louise Mai Newberry) are incredibly proud of his big business deals, initially unaware of what’s going on until the Chief Clerk (a commanding Joe Layton) arrives. A slavedriver and blind to what’s going on, the Chief Clerk issues preposterous unsympathetic proclamations like ‘You were a good person and now this disrespectful display’. When he bursts into room to discover Gregor, his total lack of empathy leads him to grabbing the nearest chair to swat him. I thought it was a nice touch that the stripes on his pinstripe suit are horizontal just to emphasise his ridiculousness (the costumes are by Becky Gunstone). Despite the extremes of the story, Sissay has a remarkable ability to make us reflect on our own world. So succumbed to his misery, Gregor resigns to the fact that he ‘will wake with a natural tiredness… that is the nature of mornings’. But what’s striking is that all this seems normal. Sissay gives us a wake-up call to the Kafkaesque nightmare to which we can easily succumb. It provides a commentary on an overworked, cruel society. But as Gregor loses his sense of self behind his bedroom door, I also found it to be a striking exploration on mental health crises. The play reaches even more profound heights in the second act as the Lodger (also Layton) ponders society’s greed. In any other situation, ‘detached is to be unmoored or unhinged’. But a ‘detached home is the pinnacle of success’.

The play (and in particular Sissay’s version) has a timeless quality to it. The setting is possibly 1950s London, but such is the universal nature of the themes there’s no clear specificity of time or place. It could easily be now. Jon Bausor’s set design is deceptive. What at first seems a well lived-in bedroom, imposing and solid as you walk in the auditorium, is not to be trusted. The bed can make figures appear and disappear; the walls are cloth which gives them movements as if the room itself is breathing; the coving is an opportunity for Gregor to cling on; the light and ceiling rose is used as a swing. The ceiling itself is stained around the edges, perhaps from time or perhaps from the ink of Ian William Galloway’s 1950s-style adverts which are projected onto them. The bedroom becomes a playground on which almost-acrobatic movement is achieved.

Whether Gregor is being attacked with chairs or is hanging upside down from the corner, Graham’s production is one of memorable images, thought-provoking ideas and Sissay’s fierce poetry. ‘Met by everyone… remembered by no one. I am done with it all’. In a system which crushes those who struggle, it’s also a timely reminder of the greater need for understanding and empathy.

Metamorphosis plays at Curve Leicester until 23rd September followed by a UK tour until 27th January. It then plays a season at the Lyric Hammersmith Theatre from 2nd February, 2024. For more information please visit


Frantic Assembly's Metamorphosis. Credit: Tristram Kenton


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