Sydney Reviews

Profit. Progress. Advance. It’s the mantra of a mogul in Metropolis, a new musical interpretation of Thea von Harbou’s 1925 novel, which in turn inspired the iconic film by Fritz Lang.

What’s the point of living if you can’t profit, progress and advance, sings Fredersen, the founding father of Metropolis. Ambition is fine, but at what cost, and who pays?

Metropolis is a thriving, prosperous high-tech town, built on sweat of the brow workers consigned to live and work underground, while the high brow live on the surface, atop skyscrapers.

Fredersen’s son, Freder, has a conscience raising epiphany when he visits the subterranean work place of the masses and falls in love with a labour agitator, Maria.

Freder decides to be an arbitrator between his father and the workers, which causes conflict and rancour in both ranks.

“We don't have the privilege of helplessness” snipes the workers when Freder grapples with his angst-ridden dilemma. And Fredersen conspires with scientist tech-head, Rotwang, to create an avatar of Maria to spread a false truth and create a dissembling conspiracy.

Writer/director Julia Robertson and composer/musical director Zara Stanton have created a show with a string of musical flavours from techno to ballads and dense choral harmonies of hymns and chants.

As with past Little Eggs Collective productions like The Rime of the Ancient Mariner and Symphonie Fantastique, the ensemble work is exemplary, a collaboration of choreography reminiscent of German expressionism silent film, puppetry, and vocal virtuosity.

Nick Fry’s set and puppet design pays homage to the silent film classic with its Art Deco motif, bronzed and burnished tones and, of course the feminised robot, Futura.

Augmented by Ryan McDonald’s lighting design and Ella Butler’s costume design, Metropolis is a visual treat.

A story from a hundred years ago, Metropolis’ metamorphosis into a musical is inspired and resonant, presenting the idealistic reconciliation of capital and labour with progressive and reactionary elements.

Are we enslaved by the machine or enriched by it? Are we caught in a technology trap that is increasing the gap? Do we tear down and rebuild or preserve the status quo?