Metamorphosis is an amusing, disturbing and provocative play, lent the theatrical equivalent of being touched, or tarred, with, say, Dali's brush, or Leary's drug-infused rants.
In her trademark fashion, with Push, Sylvie Guillem has nudged the boundaries of what constitutes modern dance and raised further poignant questions about where it might go.
Obviously, there's something in it for practically everyone; male, female, or she-male. After all, one way or another, at any given age, we all have a vested, or unvested, interest in breasts.
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Contradiction, conundrum, conflict, racism, misogyny and homophobia run through this play like a main circuit cable snaking through a moral minefield of explosive allegation.