Nativity! The Musical

What a joyous, accomplished and uplifting evening this was.  “Nativity! The Musical” was an ideal choice for Avocet Theatre Company’s first foray into the genre of musical theatre, as the group’s productions that I’ve been privileged to see have often combined the talents of younger and older performers.  Here, the impressive cast of teachers, parents and Hollywood hotshots provided a framework in which the wonderful company of young people could shine, culminating with the staging of their nativity play at Coventry cathedral.

Ah yes, Coventry cathedral.  The Musical is very true to the original film, and in common with many other musicals with their roots in the cinema, the action tends to cut rapidly between different and often very specific settings.  The set design overcame the implicit challenges of this exceptionally well, with two large video walls carrying stylised and often very imaginative images of the required locations.  And the video walls didn’t simply reproduce what painted flats might have achieved: the director recognised that they could do more, so for example Paul Maddens’ Christmas tree faded out of his living room when his girlfriend left for Hollywood, the red carpet events were illuminated by sweeping floodlights in the sky, and moving backgrounds gave the strong impression that the Hollywood tour bus was in motion.

At the beginning the screens represented wrapped Christmas presents, a theme which was cleverly extended through the entire show.  Characters emerged from large presents on wheels.  Sturdy boxes disguised as wrapped gifts were adapted to every circumstance, so there was no need for piles of prop furniture.  Best of all, the boxes were strong and stable enough for characters to stand on, adding yet more levels to a stage that already boasted a forestage at auditorium floor level, a main stage, and an elevated walkway above the video walls.  And with a cast of 60 to accommodate, all that space was needed for the company numbers, which were often well framed explosions of colour and joy.

The real stars of the show were the two ensembles of children.  The pupils at Oakmoor had a great time celebrating their sneering, jeering superiority, and their mildly malevolent sense of entitlement shone through.  Every detail of deportment, from posture to movement to the closed body language, had evidently been worked on to reinforce this characterisation.  The children at St Bernadette’s were portrayed far more sympathetically, and what was noticeable was how natural they were on stage.  Dismissing a class did not signal a sudden transition from a static group to everyone leaving rapidly, but a far more realistic drift away.

The children’s unison singing had that wonderful combination of innocence and warmth, and the occasional harmonies were secure.  As the band was tucked away at the back of the upstage gallery behind a heavy black curtain, the sound technicians could ensure that the balance between the singers and the band was generally fine.  The choreography was inventive and slickly performed, and there some unusual set-pieces embedded in the action, such as a contemporary expressive dance and a Boy Band routine.  The wardrobe team did a fantastic job both in terms of the quality and the quantity of the costumes, with highlights including the Christmas outfits in the opening number, and the Hollywood chorus line.

But beyond the artistic vision and technical excellence of this production, there was something deeper going on.  This show felt like a community coming together to achieve something rather wonderful.  As the cast gathered round Mary, Joseph and the baby Jesus, they captured the spirit of Christmas without it becoming too saccharine or schmaltzy.  Most of all, the creative team and ATC’s Committee had combined to provide dozens of local youngsters with an opportunity and an experience which they will never forget, and which in many cases will probably be something that helps to shape their lives. 

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