(Part of a series about creating a new production of “Metamorphoses” by Mary Zimmerman at Georgia Shakespeare, summer, 2013.)
Music is so important to “Metamorphoses” that it’s practically a character in the play. I suppose we could tell the stories without music, but why? The ancient Greeks probably told many of these stories as songs.
We are blessed with an outstanding composer, Kendall Simpson, who collaborated with sound designer Clay Benning to produce a soundscape worthy of the myths we recount. Though he first wrote the music several years ago (for an earlier production), Kendall is committed to making this production fresh and new. He’s fine-tuned some vocal pieces and written a few new scene transitions. But for the most part, we’re deeply satisfied with Kendall’s original compositions. The music is by turns haunting, witty, charming, and disturbing, depending on the mood of the scene.
However, one scene did require an update, and we got the new music today. For the entrance of Phaeton, Apollo’s son, Kendall has given us some Dubstep. We all gathered around Neal’s phone to learn the dance moves from the master, Marquese Scott.
From the ancient to the thoroughly modern – music might metamorphose, but it never loses its power over the human body and spirit.
Ovid, rock on.