(photo by Darryl Black)
Messing With Messiah
by Ramya Jegatheesan
Against the Grain’s Messiah begins as any other Messiah might. Singers decked out in their Sunday best: the men in black suits and bow ties; the women in gowns. They are seated, music in hand. Except we are not in a concert hall, but in the grungy Opera House and the drinks are flowing.
Then the tenor starts to undress. First the cuff links go. Then the bow tie. The sleeves are rolled up. The shirt is unbuttoned. The shoes come off, and the score is tossed away. Now you know: this is not your grandmother’s Messiah.
Against the Grain’s Messiah is cheeky, yet reverent and grounded. This centuries-old beloved Christmas tradition has been given an inventive spin, and it is glorious to see. Handel’s beloved oratorio has been brought down from the heavens and given an operatic spin. The singers perform a juggling act, balancing their vocal acrobatics with a visual story borne through movement. They have no crutch – the notes they sing have been committed to memory, and they dance, with beautiful fluid strokes.
