Metamorphoses by Mary Zimmerman. Yes, the pool is coming back! And with it comes the most critically acclaimed and best-attended production in GA Shakespeares history.
Being based on myths thousands of years old, Zimmerman and Metamophoses proves that these stories are still have relevance and can be effectively experienced in modern times. The play advocates that perhaps human beings haven't changed to the point of being unrecognizable nearly two thousand years later, and Zimmerman has stated, "These myths have a redemptive power in that they are so ancient. There's a comfort in the familiarity of the human condition." Zimmerman also generally gives the audience an objective point of view, perhaps to get a better scope of the variety of stories and themes being told. An example of the objectivity of Metamorphoses, in terms of plot, is during the Alcyone and Ceyx scene when the audience is aware of Ceyx's death long before Alcyone learns of it. In terms of motifs, Metamorphoses can become a little more subjective, especially in the themes of death and love. The play advocates in favor of the concepts concerning death as a transformation of form rather than death as an absence, which is typical in popular Western culture.
Metamorphoses is a non-naturalistic play, and is presented as mythic rather than realistic. The use of myths essentially "lifts the individuals out of ordinary time and the present moment, and places him in "mythic time"—an ambiguous term for the timeless quality myths manifest."  The setting of the play isn't limited to just one specific location. For example, the pool on stage transforms from "the luxurious swimming pool of nouveau riche Midas, the ocean in which Ceyx drowns, the food devoured by Erysichthon, Narcissus' mirror, a basin to hold Myrrha's tears, [and] the river Styx" and that the pool, like the stories transcend realistic thinking and are "suspended in space and time."