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Re: The Daltrey/Messiah show



Here's a review from Irish Times:

It was a night of spectacle, Robert O'Byrne reports of a modern reworking of 
Handel's Messiah, of which one less than enthusiastic witness remarked that 
like sheep, they had gone astray
A certain George Frederick Handel could well be chosen as the composer for 
Ireland's next entry in the Eurovision Song Contest. That annual celebration 
of kitsch certainly seemed to provide the inspiration for both the set and 
production of Messiah XXI which made its debut on Saturday night.

Within the confines of the RDS's Simmonscourt Pavilion - a trade exhibition 
hall unable to hide its original purpose - a large area had been given over 
to a series of stepped platforms on which the singers performed. They were 
backed by ranks of sail-like structures and tall screens projecting a 
sequence of constantly changing images.

Above the largest stage hovered the skeletal shell of a giant disco ball. In 
case the music proved insufficiently engaging, there were also wavy-armed 
dancers, a narrator, several small children, sign interpreters (only 
intermittently visible) and an elaborate arrangement of lighting.

The whole occasion was obviously designed more with a television audience 
than a live audience in mind, and while those who turned up to take their 
seats were not treated as an irritating inconvenience - which frequently 
happens at such events - they did have to endure watching camera crews 
persistently move around the stage and performers.

Still, at least this proved a distraction from the combination of empty 
seats and bland surroundings. Some, though by no means all, of the former 
were due to late arrivals who continued to creep into their places until 
almost the interval.

Even the President, Mrs McAleese, arrived after she was expected to do so. 
On the first occasion that her appearance was announced, the entire 
auditorium rose and enthusiastically applauded a line of empty chairs while 
the National Anthem was played. Mrs McAleese and her party subsequently 
walked in and the whole business had to be repeated.

Those who arrived after her were obliged to scurry through the hall in the 
semi-darkness and without applause. Some of them soon took advantage of the 
interval to leave the hall and not return.

Despite the publicity posters showing Handel wearing a T-shirt, this was 
never going to be a hip occasion. Indeed, while the clothing code was 
obviously casual, it inclined primarily to the comfort of cardigans.

By its dress and demeanour, the audience showed a disinclination to follow 
arranger/conductor Frank McNamara's example and rock along with the music. 
Polite applause was the preferred form, although the majority of people did 
take the President's lead when she gave the night a standing ovation. As she 
left, one less than enthusiastic witness of the spectacle remarked, quoting 
from the text, "For we, like sheep, have gone astray."

Maybe so, but these sheep then quietly herded themselves up, filed out to 
the adjacent carpark and drove straight home.

Footnote (literally): This writer would like to thank the person sitting in 
the same row who, obviously finding the heavy percussion of the music 
insufficient, thoughtfully tapped out the beat of almost every tune on the 
wooden flooring.




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