Of all the wonderful things to be catalogued in Mary Zimmerman’s extraordinary version of Ovid’s Metamorphoses, the most wonderful is probably the pool of water that dominates the stage. It’s rectangular and must be at least a foot and a half deep in places, and it’s finished with a wide wooden deck that, like so much in the production, contrives to seem both ancient and modern at the same time. The deck is a narrative space, primarily. From there, actors and characters tell stories of gods and mortals, talking sometimes to us, sometimes to other characters on the stage, while Continue reading

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