It transferred to Broadway on 21 February 2002 at the Circle in the Square Theatre produced by Roy Gabay and Robyn Goodman.

It was revived at the Lookingglass Theatre Company in Chicago on 19 September 2012 and was produced in Washington, DC at the Arena Stage in 2013.

She directed an early version of the play, Six Myths, in 1996 at the Northwestern University Theater and Interpretation Center.

Other Ovid-related works published in the same decades include David Malouf's 1978 novel, An Imaginary Life; Christoph Ransmayr's Die letzte Welt (1988) (The Last World, translated into English by John E. Woods in 1990); and Jane Alison's The Love-Artist (2001).

The order is as follows: The stories as they are told in the classic Ovid tales: David Rush notes that in this case, the plot is the playwright's deliberate selection and arrangement of the incidents and actions.

"[7] Miriam Chirico describes the work as "enacting myth does not require creating a plausible character, but rather an emblematic figure who demonstrates a particular, identifiable human trait.

"[5]: 69 Since the Metamorphoses is derived from literary texts, productions of Zimmerman's may be classified in the genre of Readers Theater.

[8]: 157–158  According to Miriam Chirico, Readers Theater presents a narrative text to an audience, for instance a poem rather than action that follows a typical play script.

Readers Theater reduces theatrical devices, such as costumes, sets, and props, to concentrate on the story and the language.

[8]: 157–158  Metamorphoses follows these methods by using multiple narrators, who both tell and comment on the story, and language that is strongly rooted in the David R. Slavitt translation of Ovid.

[3]: 624 Based on myths thousands of years old, Zimmerman's Metamophoses demonstrates their relevance and emotional truths.

[3]: 626  Through all the vignettes that are portrayed, the audience is meant to leave not with the story of a few individuals, but rather to know the power of human transformation in all forms.

Metamorphoses uses a combination of presentational and representational forms, including the Vertumnus and Pomona scene, which is both acted out and tells the story of Myrrha.

"[11] Miriam Chirico has described Zimmerman's plays as "theater of images" and compared to the style of the director Robert Wilson, Pina Bausch, and Julie Taymor.

According to David Ostling, Zimmerman's scenic designer, "She was looking for the changing ability of water, the instantaneous nature of it, how it could go from still to violent and back to calm.

When Erysichthon cuts down a sacred tree, showing that he loves only himself, he is transformed into a man consumed by hunger, eventually eating himself.

"[3]: 624  Actors wear costumes that range from classic Grecian togas to modern bathing suits, sometimes in the same scene.

This juxtaposition of old and new is particularly striking in the story of Midas, in which he is shown wearing a "smoking jacket" and confronted by a drunken reveler in a half-toga with vine leaves in his hair.

Philip Fisher describes the myths as "poetic" and says that Zimmerman "has a great vision and her sense of humor intrudes on a regular basis, often with clever visual or aural touches.

[14] Zimmerman's rhythm in the play establishes quick scenes and down-to-the point dialogue, making it easy to follow.

For example, "HERMES: The god of speed and distant messages, a golden crown above his shining eyes, his slender staff held out in front of him, and little wings fluttering at his ankles: and on his left arm, barely touching it: she.

[5]: 18  During the story of Phaeton, Apollo sings the aria "Un Aura Amorosa" from Così Fan Tutte by Mozart .

[5]) Margo Jefferson commented that the performance style fell into an American jokiness form; its youthful charm and a high energy was a way to deflect and delay an emotionally heavy scene, but this had more resonance.

Constellation Theatre Company in Washington, D.C. produced the show in 2012, directed by Allison Arkell Stockman and featuring live music by Tom Teasley.

[4] Zimmerman was educated at Northwestern University, where she received a BS in theater, as well as an MA and PhD in performance studies.

[22] Beyond her childhood fascination with Greek myths, Zimmerman credits the Jungian scholar James Hillman as the source of many of her ideas involving love, such as that in the story of Eros and Psyche.

[9]: 69 Her plays include Journey to the West, The Odyssey, The Arabian Nights, The Notebooks of Leonardo da Vinci, and Eleven Rooms of Proust.