What is «Metropolita(i)n» — by Barry Kleinbort

     Metropolita(i)n is a musical revue featuring a cast of six singers/performers (three men and three women):  One couple is late 40s- early 50s, one couple is mid 30s, and one couple is 20s.  More than one of the performers is able to play the piano or another musical instrument.  The setting features a backdrop that cleverly blends together two famous subway maps, the Paris Metro system and the NYC subway lines. The evening consists of twenty episodes, without intermission, each taking place near a particular Metro or subway stop.  Before each scene or song, a metro/subway name on the backdrop lights up revealing where in Paris or New York the next vignette will be taking place.

     This is a revue about perceptions… a tale of two very adored, very crowded, very cosmopolitan cities. The opening number, “Metropolita(i)n” sets the tone:  “New York, Paris… la vie metropolitain.” The revue reflects the general attitudes, romantic feelings and misconceptions that New Yorkers have about Paris and Parisians have about New York.  The New Yorker’s songs about Paris are sung in English and the Parisian’s songs are sung in French. Besides the cities themselves, there are also a few satirical stabs at famous political figures on both sides of the Atlantic, President Sarkozy and Senator Hilary Clinton, for example. 

     The New Yorker believes that Paris is really a movie set; nothing about it is real.  He imagines Paris being taken down every evening by stagehands and put up every single morning.  (A song, “Ville Imaginaire”) The New Yorker sees Paris as a city of decadence because of the notorious reputations of its writers, cinema, theatre, etc. That everybody in Paris smokes like a chimney, wears a black and white striped sailor’s shirt, a beret, carries a baguette under his arm, and holds a glass of red wine in the other. That Parisians, particularly sales people, are rude and unhelpful, especially at the Metro guichet.  (the scene is musicalized in the song “L’homme au guichet”)  That nobody would ever think of eating early in a restaurant, except for the vulgar American tourists, that Paris is the city of hundreds of Museums (there is a musée de pain, de fumeur, de sexe, etc.) and one particular sex musee, the Bistro du Curé, is even owned by a priest.  That it is a place that manufactures way too many cheeses, three hundred at least, (glorified in song “Barrage des Fromages”.)   That Parisians are voyeuristic and eager to participate in l’amour in Public places (the disapproving song is called “Prenez une chambre”) and, clearly, everybody who is gay or Jewish lives in the Marais or, as it is called,  the “gay-tto.”

     On the positive side, the New Yorker also finds Paris a city of incomparable beauty, especially when he is just being a flanneur, (“Se Reposer et Observer,”) or enjoying the music that seems to be present everywhere in the city.  Why, even at the Gare du Nord, the short jingle heard before the SCNF announcements is so catchy to the New Yorker that it becomes a dance production number for the entire cast of performers. (“Samba de SNCF”)  There is also a musical paean to the man who had the inspiration for the city of Paris’ most famous landmark. (“Une lettre a Monsieur Eiffel”)

     And, ultimately, despite the cultural differences, the New Yorker and the Parisian agree on one thing, that wherever you are on this planet, you must find a way to make it your home. (The musical finale, “Ma Maison.”)

 

 

Comments

[Cheap Air Jordan]

Both want to do something, or fall in love with someone, in this before we have to know their affordability.