REVIEW: Julia Robertson and Zara Stanton's Musical Theatre Adaptation METROPOLIS Is A Beautiful Interpretation Thea von Harbou's Dystopian Tale.

Friday 28th April 2023, 7:30pm, Hayes Theatre Potts Point

Thea von Harbou's 1925 dystopian tale of the dangers of class divides and favouring progress over humanity is given the musical theatre treatment in Julia Robertson (Book, Lyrics, Director and choreographer) and Zara Stanton's (Music, Orchestrations and Music Director) new adaptation of METROPOLIS. Presented by Little Eggs Collective in association with Hayes Theatre Co, this work is adds colour and song to the story that had been turned into a movie in 1927 by Harbou and her then husband, screenwriter and film director Fritz Lang.

The story of METROPOLIS centers on Freder's (Tom Dawson) discovery that the city his father Joh Fredersen (Joshua Robson) has built, METROPOLIS, runs on the exploitation of a class of workers that the 'upper classes' have deemed not worthy of being seen or valued, relegated to controlling the machines below the surface of the city, devoid of sunlight and nature. While Freder is captivated by a worker, Maria (Shannen Alyce Quan), and he trades places with a worker, Georgi (Tomas Parrish) to get closer to her, Fredersen conspires with inventor Rotwang (Thomas Campbell) to use Rotwang's latest invention to teach his son a lesson that the workers are expendable 'resources'. Rotwang however still harbors a deep resentment towards Fredersen and his machinenmensch "Futura" (puppeteers: Amanda McGregor, Anusha Thomas and AJ Pate) is the key to achieving his revenge after he follows Fredersen's instruction that Maria's face be used to finish the humanoid machine.

Retaining the essence of the era in which the book was written and the aesthetic that Lang adopted for his movie, set and puppet designer Nick Fry incorporates an elegant geometric Art Deco feel for the set and the Futura puppet. Fry has opted for darker tones with a metallic touch for his Metropolis given the same space is used to express both towers, reinforced by panels flanking the stage, for the upper class that can see the sun, and the 'Worker's City' below METROPOLIS. Ella Butler's costume design reinforces that the workers are shapeless characters that are merely there to keep the machines that make the lives of those above better, but heaven forbid those above ever see the workers let alone think of the true cost of what it takes to keep them in the manner in which they are accustomed.

With a strong cast that includes performers with opera and classical training and the support of Stanton's three-piece band, the music of METROPOLIS is powerful. Standout numbers are Robson's rendition of Fredersen's Hella, Help Me and Quan's delivery of human Maria's Extraordinary. During the interval, Dominic Lui, supported by Stanton on Accordion, links METROPOLIS to its Weimar Germany origins with a Kabarett interpretation of So Viel Stern am Himmel Stehen (There are so many stars in the sky). The choreography, created by Robertson and the Company, captures the energy that the workers are part of the machine while The Revelers as Yoshiwara, a nightclub are enjoying a more free, hedonistic existence, potentially under the influence of alcohol and illicit substances. The movement draws from the 20's chorus lines and has elements of Fosse's nuanced movement. The use of the aisle expands the performance space, immersing the audience in the experience as not just being witnesses to the story but being challenged to consider their role in worlds like METROPOLIS as while we may not hide our working classes below ground, they are often relegated to the outer suburbs with upper classes often passing judgment with no consideration of the reality that we all share the common bond of being human.

Written nearly a century ago, Thea von Harbou's METROPOLIS retains a relevance as recently reinforced over the past few years when society was reminded that it was the working class "hands" of society that kept a city running and they couldn't just be forgotten as white collar "Heads" made decisions that those without a 'voice' couldn't afford. Julia Robertson and Zara Stanton ensures that Harbou's story retains its impact while also being entertaining and elegant. While the work could use some refinements, including the pace and the positioning of the delivery of the monologues lifted from the text of Harbou's novel, the Act II description of Yoshiwara delivered largely from behind the audience particularly, and adjustment to the tempo of the songs to ensure constant clarity of lyrics particularly when presented with operatic stylings, this premiere production of METROPOLIS is well worth catching.

Metropolis - Hayes Theatre Co

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