House of Metatron

The Game

House of Metatron

Theatrical Game

“Worth playing”
Georg Kasch, Tagesspiegel

“A highlight which stands for itself. (…) The timely decoding of the cleverly designed and technically perfect tests lets the pulse rate rise involuntarily.”
Matthias Weigel, nachtkritik

The former airport Tempelhof in the summer of 2012. People are sitting in the warm sun. There are barbecues, games and laughter. In between the picnic blankets and playing children a house with neat curtains stands amidst the idyll. On the same plot of land, in the accurately mowed lawn stands an abandoned tower. On the top, amidst strange looking tools stands a mug still warm with coffee. The slips of paper with notes look as if somebody just worked with them. Looking down from here one feels a premonition of evil in the air. The ideal world is a set. Only with a bird’s eye perspective the glitches in the system can be seen.

The bible lies. God gave up a long time ago. But humanity doesn’t know that. With their bikes and summer hats they slept through the apocalypse. And that’s good, at least that’s what the Metatron thinks. He, the voice of God, abjures the master his rightful service and refuses to herald the final message. Humans are sheep and he is their shepherd. The knowledge about the world and what is holding is together now would mean their demise. They don’t deserve that. The mystical illusion, the virtual reality is their only hope.

In the middle of the matrix, Metatron’s workshop which is hidden behind the curtains, the world looks just as it really is. We discover a dark chamber and rattling stanchions, hear loud, turbid voices and smell the sulphuric air. Here Metatron puts away the glitches and conspiracy theorists, the nonbelievers and all those fiends who could endanger the sound interface.

At the border between kitsch and rot machina eX stage an apocryphal universe that is supposed to stay covered, but manifests itself again and again. We break and enter and slide down into an adventure that oscillates between apocalyptical phantasy, expedition and adventure park.

A short theatrical game for 12 players – duration of 30 minutes.

Premieres on June 1st 2012 in the context of the Grosse Weltausstellung 2012 – THE WORLD IS NOT FAIR. An event by HAU Hebbel am Ufer and raumlaborberlin.

The Scenery


By: Anna Fries, Robin Krause, Laura Schäffer and Philip Steimel
Sounddesign: Malu Peeters
Voice Acting: Christian Eckert, Nigel Dunkley

Funded by HAU Hebbel am Ufer

machina eX macht Computerspieltheater – theatrale Point 'n' Click Adventures in lebensechter Grafik.