Cast


Mr. Samsa Jonny MacPherson (4)
Mrs. Samsa Gillian Garvie* (4)
Gregor Piper Nordell* (4)
Greta Emily Pitters (2)
Clerk Siyam Hassan (2)
Lodger Kaeleigh Folk (3)
*In fulfillment of DRAM 419
() representive of year of drama program

Creative Team

Director Natasha Martina
Set Design Darius Kiskotagan* (4)
Costume Design Hannah Fehr* (4)
Beverley Kobelsky
Lighting Design Cody Brayshaw* (4)
Sound Design Aiden Maddison (2)
Natasha Martina
Prop Design Brooklynn Bitner
*In partial fulfillment of BFA (Design)
() representive of year of drama program

Crew

Stage Manager Jordan Sherling
Assistant Stage Manager Juno Haywood
Corbin Basso
Production Manager Ken MacKenzie
Head of Wardrobe Beverley Kobelsky
Costume Assistant Emma Gustafson
Head of Props Brooklynn Bitner
Props Assistant Darius Kiskotagan
Head Carpenter Iain Rose
Lighting Crew Carlos Martinez
Jenna Stang
Jordan Sherling
Aiden Maddison
Juno Haywood
Randy Huang
Xander Scribante
Nicole Tarry
Gabe Martell
Lighting Operator Ken MacKenzie
Sound Operator Corbin Basso
Violinist (Greta's solo pieces) Wagner Barbosa
Recording and Sound Engineer
(live music)
Shannon Blanchet
Box Office Staff Deanna Black
Ava Johnson
James Miller
Chinaza Onyeneke

Director's Notes

I have wanted to direct one of Steven Berkoff’s plays ever since my arrival at the U of S in 2006, but it never quite felt “the right time” – until now.  In each of his works, Berkoff is known to be highly stylized and expressionistic, with an emphasis on the body telling the story, while scenic and other elements play a supporting role.  Berkoff adapted several of Kafka’s works including Metamorphosis, The Trial, and The Penal Colony, with Metamorphosis being performed under Berkoff’s direction several times, from its inception in 1969 to its 2010 production in Tokyo. It is almost as though Berkoff and Kafka were brothers in a former life given their mutual attraction to stories that highlight the surreal and the absurd.

 “Man is nothing but his profession” Franz Kafka

Metamorphosis highlights many themes including: identity; desire to revolt but constrained by familial duties; gender roles; mental health; and transformation. What really intrigued me about this play was the central premise associated with how one’s job defines who they are; or stated in the form of a question, is there more to life than our profession? Transformation is a part of life’s natural course; but at issue here is the degree to which one can consciously choose their own path as opposed to being forced – day in, and day out – to do something, anything, merely to survive.

For my part, it continues to be an immense pleasure to be able to direct so many of our students over the years as part of the Greystone season. What is more, without patrons such as you, this simply would not be possible. Thank you supporting the Department of Drama.

- Natasha Martina

Acknowledgements

A special thank you to Shakespeare on the Saskatchewan and Production Lighting!

Upcoming!

Ad for Making a Scene summer drama camp

 Greystone season announcement for 2024-2025. Seeds by Annabel Soutar October 10 - 13, 2024, Women of the Fur Trade by Grances Koncan November 21 - 24, 2024, first and second year show TBA February 12 - 15, 2025, Mother's Daughter March 20 - 29, 2025