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''Metropolis'' is a musical play based on the [[Film/{{Metropolis}} 1927 silent film by the same name.]] It was directed by Jérôme Savary, had a score written by Joe Brooks and Dusty Hughes. The initial cast featured Graham Bickley, Judy Kuhn and Creator/BrianBlessed, among others. It was originally performed in 1989 in both Britain and Germany. Since then, it has been staged several times in the United States as well. However, it is unlikely that it will ever be performed again, as Joe Brooks commited suicide in 2011 and forbade any more stagings of it after his death.

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''Metropolis'' is a musical play based on the [[Film/{{Metropolis}} 1927 silent film by the same name.]] It was directed by Jérôme Savary, had a score written by Joe Brooks and Dusty Hughes. The initial cast featured Graham Bickley, Judy Kuhn and Creator/BrianBlessed, among others. It was originally performed in 1989 in both Britain and Germany. Since then, it has been staged several times in the United States as well. However, it is unlikely that it will ever be performed again, as Joe Brooks commited suicide in 2011 and forbade any more stagings of it after his death.
death. However, the actual rights remained rather murky, and the play has nevertheless continued to be performed even afterwars.

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->'''John Freeman''': I keep on telling you that workers are expendable, my eyes are on the future, I need robots, I need them now.


* AdaptationalContextChange: Sort of. The play keeps the line "Let's watch the world go to the devil" from the film, but it now has the workers thinking that Futura herself ''is'' the devil (as opposed to "just" a witch). This means that, as far as they are concerned, the meaning of the line changes from "Let's watch the world burn" to "Watch as I conquer the world."

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** Groat is willing to cause a flood in order to protect the machines from the workers. In the original story, the flood was caused by the wokers (and Rotwang's robot) destroying the machines. This was one of the reasons why Grot wanted to protect them in the first place. Groat is also portrayed as an abusive BadBoss, while the only times Grot attacked anyone was when he tried to defend the Heart Machine and himself from an army of workers, and later when he hunted down the people responsible for its' destruction. (Which he belived had killed hundreds of innocent children, including his own daughter.)

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* AdaptationalVillainy: Joh Fredersen was a JerkWithAHeartOfGold who based his actions on the belief that UtopiaJustifiesTheMeans. He was given several PetTheDog moments and had a HeelRealisation at the end of the story. John Freeman, on the other hand, is a [[ChewingTheScenery very hammy,]] sadistic, rather two-dimensional villain who is fond of using [[DeadlyEuphemism Deadly Euphemisms,]] really appreciates Futura (Unlike Joh Fredersen, [[EvenEvilHasStandards who was terrified of her and only used her out of necessity.]]) and is never redeemed, instead destroying the entire city in a massive murder-suicide act.

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* WeWillUseManualLabourInTheFuture: The play tries to justify this by moving the story to an AfterTheEnd setting where no other sources of energy exist. [[VoodooShark Though this raises the question of what the robots John Freeman plans to replace his workers with will be powered by.]]


** Maria is a good, compasionate person in both versions, but she is not as easily frightened or as much of a scream queen as her original counterpart.

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** Maria is a good, compasionate compassionate person in both versions, but she is not as easily frightened or as much of a scream queen as her original counterpart.


* AdaptationalHeroism: Rotwang may have been a TragicVillain who was planning to double-cross Joh Fredersen, but he was still perfectly willing to kidnap an innocent woman, create a robot with her face intended to be used as - among other things - a weapon, implicitly perform black magic and sexually assaulting the woman he kidnapped. (The movie added "trying to destroy an entire city" and "planning to murder two people for something neither of them could help" as well.) Warner, on the other hand, is basically a PunchClockVillain who gets Maria delivered to his doorstep by John Freeman (So that he doesn't have to kidnap her.) only intends for Futura to be used as a machinist and gets a RedemptionEqualsDeath moment when he refuses to kill Maria and releases her instead. All occult subtext is also conviniently done away with by the {{Demythification}} the story recieves.



* AllAIIsACrapshoot: Zig-Zagged.

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* AllAIIsACrapshoot: AIIsACrapshoot: Zig-Zagged. Futura is a dangerous lunatic, but she is completely loyal to her creators and follow their orders perfectly. However, her actions are too extreme and ultimately does more harm than good for John Freeman, though he is notified of this. The real problem is that he doesn't see the danger and lets her continue uninterrupted.

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* AllAIIsACrapshoot: Zig-Zagged.


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* GoneHorriblyRight: John Freeman fears that Maria will inspire a rebellion among the workers and has Futura impersonate her in order to discredit her. It works a little too well. The workers hate the new Maria so much that they start to rebel against her instead.

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* AdaptationPersonalityChange: Joh Fredersen/John Freeman goes from being TheStoic (With a few NotSoStoic moments.) to being, well, Creator/BrianBlessed.
** Warner however goes completely in the opposite direction, being much calmer and less insane than Rotwang was.
** Maria is a good, compasionate person in both versions, but she is not as easily frightened or as much of a scream queen as her original counterpart.


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* RedemptionEqualsDeath: Warner decides to not kill Maria and instead release her, which John Freeman has him executed for.
* ReluctantMadScientist: Warner plays this trope more straight than Rotwang did.


* DeathByAdaptation: Originally, Joh Fredersen only knocked Rotwang unconscious and left the house without checking that he was dead. Predictably, he woke up later and returned for a final showdown, where he finally died. John Freeman doesn't make the same mistake, and has Warner shot dead right on the spot.
** Joh Fredersen also survived the events of his story, but John Freeman isn't as lucky. Instead, he is DrivenToSuicide and decides to take the rest of the city with him, killing himself, Jeremiah, and likely most of the residents of Metropolis.



* ShoutOut: Futura is killed by being burned alive in an oven, [[Literature/HanselAndGretel much like another famous German witch.]]

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* ShoutOut: Futura LackOfEmpathy: John Freeman doesn't care about his workers at all, and actually bemoans that his son has a consience.
* NotHisSled: It's pretty clear that the play
is killed going to have a different ending than the film/book when Warner gets shot. Later, the plot diverts even further from the original story by being burned alive having John Freeman kill himself and destroy his own city while most of the workers die in an oven, [[Literature/HanselAndGretel much like another famous German witch.]]a flood caused by Groat, making it impossible for the original ending to play out. This also means that the story's original message of uniting the different classes of society is completely removed.


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* ShoutOut: Futura is killed by being burned alive in an oven, [[Literature/HanselAndGretel much like another famous German witch.]]

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* AdaptedOut: September and Joh Fredersen's mother, (who appeared in the book but not in the movie,) Hel and Desertus, (who appeared in the original cut of the film, but later had their scenes removed,) and The Magician, Jan, The Master of Cermonies and Rotwang's servant (who had very small roles in the film) have all been removed from the story.

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* DarkerAndEdgier: The original story was already pretty dark, but at least it had a relatively happy and hopeful ending. Here, the situation is far grimmer, but there still seems to be ''some'' hope for the future.


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* WouldHurtAChild: While Rotwang's robot was already willing to cause a flood which threatened to kill the workers' children, Futura goes one step further by actually trying to kill a child herself.

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* AfterTheEnd: The setting of the play, especially after the climax.
* AscendedExtra: The children are given a much larger role than they had in the movie, even getting several lines. (This also happened in the book, though the children's actual scenes are original to the musical.)
** Downplayed with Futura. Her role is about the same size as her original counterpart's, but she has far more lines here, due to no longer being a SilentAntagonist.

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