Handel’s Messiah: The Live Experience At Theatre Royal, Drury Lane, London Review

Reviewed by Samantha Graham

Presented by Classical Everywhere, Theatre Royal, Drury Lane, London

Exquisite. Stunning. Puzzling. Sombre. Stirring. All words that describe how I found this unique and powerful version of Handel’s Messiah presented by Classical Everywhere.

This is no ordinary rendition of Handel’s Messiah. Three dancers – Rebel, Leader and Healing – are a prominent feature throughout. They appear in sometimes unusual moments, with an experience and narrative all of their own captured in their dance.

Two characters, Mother and Child, intersperse the oratorio with vividly spoken word, expressing the essence of hope, sacrifice and redemption. Their modern-day, biker-esque costumes (with a traditional shepherd-like scarf) tell a story all of their own – reflecting the heartfelt life conveyed in their poetry.  

And that’s before we even get to the incredible soloists, the energetic chorus and the superb orchestra!

I found the opening tenor, Nicky Spence, exquisite, as he sung out ‘Comfort ye, comfort ye my people’ – a captivating presence that immediately drew me in. His simple suit, with a glorious gold embellishment, added to his significance on stage.

Idunnu Münch was a moving and an anchoring presence all the way through. Her voice and expression exuded the gravity of her words, for example when she sings: ‘…and who shall stand when He appeareth?’ This rung out as a sobering question reflecting the gravity and reverence of the Biblical words utilised by Handel, capturing the belief that one day we will all stand before a loving, yet righteous, God.

Cody Quattlebaum was captivating in his delivery, with his strong, rich voice and flowing hair. His leather-based outfit, reminiscent of a modern-day biker, gave him an earthiness and solidity that added to his presence and energy on stage.

Danielle De Niese seemed almost angelic at points, an enigmatic, glamorous narrator who radiated throughout. She was the only character whose costume changed at different points in the evening, each outfit reflecting a different part of the oratorio, including the glory of Christ’s birth and the sombre, yet hopeful, ‘…I know that my redeemer liveth.’

The London Symphony Chorus played the role of the Choir, passionate and exuberant in their delivery, stirring emotion and eliciting spontaneous applause at multiple points. Indeed, spontaneous applause rang out for the soloists and dancers in both halves as they captured the audience’s hearts.

The English Chamber Orchestra were beautifully balanced, with a delightful harpsichord accompanying the traditional orchestral set-up and a dramatic, moving trumpet solo. Their interplay with the narrators reflected Handel’s genius in combining words, song and sentiment.

The final ‘character’ in the oratorio was the vertical, digital screen that took centre stage, separating the Choir and the orchestra and providing a constantly moving backdrop to the performance. I found it an unusual feature – sometimes reflecting the words being sung and other times feeling at odds with this – such as when lightning bolts flashed across the screen as the Chorus sung: ‘And with His stripes we are healed’. But nevertheless, it added to the drama of the performance!

The performance was two glorious hours in total, separated by a 30-minute break, with the Hallelujah chorus drawing the audience to its feet and a rousing and stunning ‘Amen’ at the end. It was a memorable performance and certainly one that will stay with me for many years to come!

Rating: 4/5

The show was on Tuesday 6th December 2022

Tickets cost £25-£75 (subject to booking fee)

For more information please visit Handel’s Messiah | Classical Everywhere | Theatre Royal, Drury Lane (immersivehandelsmessiah.com)