By Steve Sucato 

Incarnation, a follow-up to the internationally celebrated solo artist Maria Caruso’s critically acclaimed magnum opus Metamorphosis, will premiere October 2-3 at London’s famous Theatre Royal Drury Lane. Inspired by audience reactions to Metamorphosis and a desire to know more about Caruso’s story, Incarnation continues the heartfelt story of one woman’s tragedies and triumphs. 

I talked with the Pittsburgh native about the new dance theater piece and what audiences can expect.

How do you see Incarnation in relationship to Metamorphosis?

This new work is, in many ways, an incarnation of the semi-autobiographical journey my character was on in Metamorphosis. It opens with film excerpts from Metamorphosis, in which I walk the audience through some of what happened in that show and lead them into my character’s journey in the new work. 

Without giving too much away, how does Incarnation unfold? 

In it, we see a troubled woman who writes letters with much to say about her life. Every time she writes a letter, what she expresses or feels in it comes to life.  We don’t know who she is writing to, only that no one sends her a letter back. It is the story of a woman emotionally exposing herself and feeling safe in that exposition where she can express the good, bad, and ugly things that have happened to her and come to terms with them. 

The show uses the tagline “It’s all about time.” What does that reference mean?

It is all about the timing of things in life and understanding that sometimes it’s not the right time for things to happen. It is also about time as intangible time, like quantity and quality. This is the first time I have been afforded the luxury of time and solitude to create this work. It has been two years in the making and the longest I have ever worked on a project. I think it is the best I have done.

What was your approach to the music for Incarnation?

I wanted the score to be cinematic. I chose Ryan Onestak, a 21-year-old composition student from Carnegie Mellon University, to compose the music. He is studying composition for film, and I had heard some of his works. I liked that he was influenced by some of the musicians I love, such as Sigur Rós and Nils Frahm. He created original music that made sense for the work and enhanced what I was doing on stage.

Metamorphosis was marked by its many costume elements; how is Incarnation different? 

The fabric in Metamorphosis was a feat to work with, but it was a consistent thing in the show. I wanted to challenge myself to work with different apparatus and tools for this new show. The costumes are grander, and there are more props.  

What was your goal in making Incarnation?

My goal with Incarnation was to make something different but equally powerful as Metamorphosis. I took all the knowledge I have learned from working in film and television over the past few years and added that new dynamic into this solo show to be the performer I am now, not who I was then.  

Like Metamorphosis, will Incarnation be available for streaming at some point?

Yes. We are filming both nights. I am excited about the many platforms that will be streaming the program. [Future details at https://incarnation.metamorphosismac.com]

Is there one particular thing you want audiences to take away from Incarnation?

Bad things happen to good people all the time. There is no one whose life hasn’t been afflicted with what this world has tossed at them. The reality is we can choose to treat hate with hate or hate with love. It is our choice. It is within us to find the strength and courage to understand and appreciate that these happen. It is time humanity looks within and does some deep soul-searching instead of predominately projecting its negativity outward.

Maria Caruso performs Incarnation at 7: 30 p.m., Wednesday, October 2, and Thursday, October 3, 2024 at Theatre Royal Drury Lane, London. Tickets range from £11- £50. For more information and tickets, visit https://lwtheatres.co.uk

Photos of Maria Caruso by Paulo Leibert.