In my opinion, the most notable difference between Kafka's original novel and Berkoff's adapted play is how Gregor's transformation is shown. In the original German, Franz Kafka uses the word Ungeziefer, meaning "vermin" or an unclean, inedible creature, leaving the image deliberately vague. Many English translations turn this into a specific insect, often a beetle. In Steven Berkoff's stage version, the creature has to be visible, so Gregor becomes insect-like through mime and physical movement. Due to the audience still being able to see his human face, we sympathise with him more, while the horror remains.

Style

As lightly touched on previously, and dicussed in detail on the Berkoff page, Berkoff's Metamorphosis is clearly defined by it's Total Theatre:

Steven Berkoff's adaptation of The Metamorphosis strongly reflects his concept of Total Theatre (see Berkoff page), a style combining movement, voice, mime, and minimal staging to create a powerful and imaginative performance. Instead of relying on realistic sets or naturalistic acting, Berkoff uses the full range of theatrical techniques so that every element of the performance works together to tell the story.

Total Theatre places the actor at the centre of the production. In Berkoff's Metamorphosis, performers use their bodies, voices, and facial expressions to create, not only characters, but also the environment around them. For example, actors may physically form pieces of furniture such as Gregor's bed, doors, or even the walls of the Samsa household. This approach removes the need for detailed scenery and instead encourages the audience to imagine the world through the actors' movements. As a result, the stage feels dynamic and constantly changing.

A key element of Total Theatre is physical theatre and mime. Berkoff trained in mime and was influenced by practitioners such as Jacques Lecoq. In Metamorphosis, movement is often exaggerated, precise, and highly controlled. Characters may move in sharp, mechanical ways to reflect the oppressive routine of Gregor's life or the tension within the family. This stylised physicality helps communicate emotions and ideas visually rather than relying purely on dialogue.

Voice and sound are also important parts of Berkoff's Total Theatre. The actors frequently use rhythmic speech, chanting, and repeated phrases to create atmosphere and intensity. Instead of everyday conversation, dialogue may be delivered in a heightened, almost musical style. This adds energy to the performance and helps emphasise the psychological pressure experienced by Gregor and his family.

Another important feature is the use of ensemble performance. In Total Theatre, actors often work together as a coordinated group rather than focusing only on individual characters. In Metamorphosis, the ensemble might move in unison or perform choreographed sequences to represent Gregor's thoughts, the strict routines of his job, or the suffocating environment of his home. This collective movement creates strong visual images and reinforces the themes of confinement and alienation.

Minimalism also plays a major role in Berkoff's style. There are usually very few props or set pieces on stage. Lighting, movement, and sound are used instead to suggest different locations or moods. This stripped-down staging allows the audience to focus on the performers and the imaginative storytelling rather than realistic scenery.

Through Total Theatre, Berkoff transforms Kafka's story into a vivid and physical stage experience. By combining movement, voice, mime, and ensemble work, he creates a performance that is intense, expressive, and visually striking. The style helps highlight the themes of alienation and isolation in the story while demonstrating how theatre can use the actor's body and imagination as its most powerful tools.