A new stage production, titled Joyful Noise, offers a dramatic and often humorous exploration of the tumultuous creation of George Frideric Handel’s iconic oratorio, Messiah. The play, penned by US playwright Tim Slover, delves into the historical context and personal conflicts that surrounded the composition of this monumental work, which faced significant opposition from the Church of England itself.
The Genesis of a Masterpiece
The narrative of Joyful Noise unfolds against the backdrop of 18th-century London, a period rife with artistic rivalries, social scandals, and religious conservatism. The play highlights the tension between Handel and his librettist, Charles Jennens, who had strong ideas about how the oratorio should be structured and presented. Jennens, a devout man, envisioned Messiah as a vehicle for profound religious expression, while Handel, a seasoned composer, navigated the practicalities of performance and the demands of his patrons.
Adding another layer of complexity, the production also weaves in the personal struggles of soprano Susannah Cibber. Her reputation was severely damaged by a public adultery scandal, orchestrated by her estranged husband. The play portrays how Cibber’s own experiences of societal judgment and personal hardship may have informed her powerful performance of the oratorio’s deeply emotional music.
Clashing Personalities and Artistic Battles
The stage is set for a series of confrontations, not only between Handel and Jennens but also among the performers and the establishment. The play depicts artistic skirmishes between Handel and his librettist, as well as rivalries between singers like Cibber and the spirited Kitty Clive. These interpersonal dynamics are juxtaposed with political maneuvering involving King George II and the conservative Bishop Egerton, who, along with other church officials, initially deemed Handel’s Messiah to be blasphemous and sought to prevent its performance.
The production captures the often-prickly relationship between Handel and his collaborators, showcasing his renowned stubbornness and temper. However, it also reveals glimpses of his warmth and wit, portraying him as a pragmatic composer driven by a soaring creative spirit. The historical figures are brought to life with performances that balance their known traits with nuanced portrayals.
Key Figures and Their Portrayals
- George Frideric Handel: Portrayed with a perfect balance of tetchiness and underlying warmth, capturing the composer’s pragmatic approach alongside his immense creative talent.
- Charles Jennens: Depicted as a zealous librettist, insistent on his vision for Messiah and holding firm beliefs about legitimate royalty.
- Susannah Cibber: Initially presented as somewhat subdued, the character develops into a sympathetic figure whose performance gains emotional depth as the play progresses.
- Kitty Clive: A standout performance, characterized by vibrant energy and street smarts, embodying the ambition and resilience required in a cutthroat profession.
- Bishop Egerton: Rendered with a manipulative edge, driven by a desire to confine religious expression to traditional church settings, away from the public sphere of opera and oratorio.
- King George II: Presented with presence and authority, the monarch’s interactions with Handel and the Bishop add a layer of courtly intrigue.
A Blend of Humor and Drama
Despite the high stakes and dramatic potential of the subject matter, Tim Slover’s script is noted for its skillful use of humor. This comedic element leavens the more serious historical and personal conflicts, making the narrative engaging and accessible. The play successfully blends archness, comedy, and high-stakes drama, creating a dynamic theatrical experience.
The production, directed by Madeleine Stedman for Joining the Dots Theatre, initially faced some challenges in finding its footing, with early performances marked by nerves and inconsistent technical elements like projections. However, as the play progressed, the cast and crew found their rhythm, building confidence and refining their performances. By the latter half, the production achieved a level of quality and emotional resonance that drew the audience in, anticipating the iconic “Hallelujah” chorus long before its narrative arrival.
Themes of Resilience and Divinity
Beyond the historical accounts and personal squabbles, Joyful Noise touches upon deeper themes. The play suggests that Handel, a composer who had faced his own rejections and setbacks, found a profound connection with the message of Christ’s suffering and resurrection. The concept of being “despised and rejected” resonated deeply with Handel, providing a conduit for his spiritual and creative dialogue.
The production is praised for its lack of overt political or social agendas, allowing the historical narrative and the human drama to speak for themselves. The play serves as a reminder that even the most revered works of art are born from complex human experiences, involving passion, conflict, and a relentless pursuit of creative expression.
Conclusion
Joyful Noise provides a compelling and entertaining look at the making of Handel’s Messiah. By skillfully interweaving historical fact with dramatic license, the play illuminates the personalities, conflicts, and inspirations behind one of the world’s most beloved oratorios. The production’s journey from tentative beginnings to a confident and moving performance mirrors the very creation story it depicts, ultimately hitting just the right note for its audience.
