Metropolis – REVIEW
Image: Joshua Robson in METROPOLIS at the Hayes Theatre. Image: Grant Leslie
Fritz Lang’s opulent black and white masterpiece based on Thea von Harbou’s epic novel are distilled for the small Hayes Theatre stage without losing the profound intensity of the story. Julia Robertson wrote the book and lyrics, and directed this impressive musical adaptation of Metropolis, beautifully complemented by Zara Stanton’s eerie, majestic score.
Created in the 1920s, Metropolis is a science fiction story set in a dystopian future where a hubristic magnate has built a modern city for the privileged class, underneath which is a workhouse and residency for the minions. Amidst a worker uprising is a tale of betrayal, love, patriarchy, loss and redemption.
As with the works of Shakespeare, von Harbou’s tale is not so much about plot as it is about human nature, in the individual and in groups. It is a story that is highly translatable to now.
Nick Fry has created a minimalist set that abstractly and simultaneously represents the two worlds of Metropolis: the subterranean powerhouse, intimated by dull lighting and the banal movement of the workers; and the bourgeois, ultra-stylish outside world, depicted by the art deco stained glass windows and mock building facades.
A sliding door at the rear of the stage opens to reveal a large wall panel of light bulbs which are used to great effect for lighting and to suggest machinery.
Arguably, the most impressive creation is the puppet android, that, though operated by clearly visible puppeteers, is eerily life-like.
Performances by all the cast are very good. Joshua Robson is enthralling as the narcissistic overlord, Joh Fredersen. Tom Dawson is his son, Freder, the young, idealistic but inept wanna-be hero. Maria, the messianic-like figure whose hopeful crusade is sabotaged by an imposter, is played in both roles, by Shannen Alyce Quan.
Quan has a quiet solemnity that alternates with fiery passion, matched in each case by an exquisite vocal delivery.
Thomas Campbell is outstanding as Rotwang, the vengeful inventor whose anguish, peppered with spite, leads to ultimate destruction. Tomas Parrish uses his every muscle in his face and body to express the journey of his character, Georgie, a worker who gets to taste the good life only to find it’s not so good.
Metropolis is intriguing, disturbing, fascinating. It has strong religious overtones and socio-political resonance.
It’s great to see a new Australian musical of this calibre – and with two female writers – in our theatres.
