Concordia College’s 2025 Fringe offering of Metropolis Now is presented in the College’s delightful intimate theatre and well equipped drama suite. Playwright/Director and College Drama Coordinator, Aldo Longobardi, has assembled an able and evenly talented cast of thirteen for a one-act play that traverses a plethora of social issues. The stage is simply set as a single apartment in the old “Metropolis Movie House”. It is a focal point for gatherings and intersection of residents present as well as past. It is currently the abode of Max, Rufus and Sam.

Max (Archer Broomhall) has a penchant for recording everything on his small movie camera. He effectively becomes the “chorus” and hence the common link throughout. It is a well spoken and well timed performance by Broomhill who delivers his pronouncements with modulated authority. Tom Reuter’s Rufus presents as a somewhat fraught artist lamenting the loss of a recent relationship and concerned his art will not survive in a world increasingly manipulated by AI. Matilda Preston plays a binary identifying Sam and does so with admirable integrity. Preston gives a natural and relaxed performance and value adds to that with some expert instrumental guitar backing.

Engaged couple Zoe (Maddi Fox) and Colin (John Gallagher) have reached a crossroad in their relationship. Both Fox and Gallagher demonstrate a believable couple’s chemistry on stage. Fox also adds to the narrative on occasion with vocals sweet and true. Emma (Daisy Barton) desires a musical career whilst her partner Jess (Lois Allen) is working hard to finance Emma’s aspirations. The disparity of their mutual income contribution promotes a growing fracture in their relationship. Barton also contributes to the vocals dotted throughout this piece and she too has a most pleasing voice. In character combination of Mother/Paula and Melodi, Madeleine McNicol displays a mature stage presence and a well articulated delivery. Mimi (Anya Fey) initially hides a health condition which may well be terminal. Fey constructs a balanced and believable character who is clear headed and who knows what she wants.

Within this mix of people immersed in their daily lives and economic survival there is a shared anxiety concerning their living spaces. the arrival of Benji (Zac Hawkins) representing his property development family is most unwelcome. Hawkins combines his role as harbinger of future development news to an angry group of tenants with a human tinge of understanding and empathy. He plays his part with measured assurance but in a relaxed and easy manner. As Grayson/Carla Elysia Kenyon displays passion and versatility and also contributes with a fetching singing voice. Sienna Glasson as Ruby and “TK” demonstrates purpose in her dual roles whilst Elle Stevens as Yasmine is a notable vocal spokesperson particularly in the “press” scene.

That brings me to comment on parts of this production I really liked. My attention was captured by the aforementioned media pack mobbing Developer Benji and plying him with endless questions. It was a standout scene for its movement, its dramatic quality and its air of authenticity. Similarly I was drawn to the support group facilitated by the character Sam. I just liked the realistic way it presented on stage. Everybody in the ensemble contributed to the dramatic impact of scenes like these. The references to AI and its growing role in our everyday lives was something that I certainly focussed upon. AI’s uncertain yet inevitable unbound potential to influence our lives will become an inevitable issue in our growing world of social media. Its potential to influence just about everything in our human condition is very sobering. The audience at the performance I attended was quietly attentive to what was happening on stage. Only once do I recall a small response of laughter. Longobardi’s play and Concordia Drama students’ performance of it makes for a notable first time entrance to the vibrant festival that is The Adelaide Fringe.