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| Friday, December 24, 2004
Theatre > On Heaven's Throne by Church of Our Saviour On Heaven's Throne by Church of Our Saviour took place at Church of Our Saviour, St Margaret's Drive over the Christmas season. Reviewed by Dawn Fung."Go change the world" was the popular refrain from an amalgation of choir, band, dancers and cast. I was surprised at the magnitude of COOS' presentation because apart from the amazing glass house set, the number of people participating came to 80. If that did not change popular church theatre, it might do so in the future.  herodCreating the nativity by juxtaposing modern heaven (think power suits and star trek capes for angels) against jewish history (sandals and shawls), COOS' production made me wonder if they had done their Brechtian homework. If the point of the production was to make us think, then Brechtians must look to On Heaven's Throne for A Effects : while Joseph and Mary were presented naturalistically, Herod's scene fell out of a tableau transported in between a glass house door. I was alienated by the presentation of contrast, especially with a set that should have belonged to a Jon Fosse play. Other particular jarring moments include a lead singer in a power suit who exposited through lyrics in between scenes and the entrance of God in a golden cape. Of course, he drops his cape to signify his descent to earth, but not before embracing his angelic fans. I wondered if more things can be suggested if God did not have to appear (at all) like he often does on a church stage. In trying to help us understand Jesus' birth starting from the point of God's decision in heaven, COOS' use of heaven/earth could be made a little less drastic by paring down costumes which were too blindingly linear. The little speaking that was done might as well be scrapped to accomodate the very clear exposition and give actors more room to rehearse body movement technique.  mary and the real baby jesus What made the production artistically special for me was the presence of a real baby (Jesus) and a little boy (think 4 year old Jesus). What On Heaven's Throne offered for emotive responses were the realness of individuals that were the least concerned with anything theatrical. This is logical given that everything else looked planned to death. It is in the midst of such control that a cry from an unsuspecting actor would command an emotional response from the audience.  the nativity communityFrom a Christian viewpoint, I heartily enjoyed the production because it was a community who loved Jesus, their people and their expressions coming together to bless God and his church. With hearts like these, it would be opportune to point out the importance of entering the kingdom of heaven like a child, that God's kingdom defies world definitions of acceptance. The most pleasing part of the production is the most poignant reminder of our status as God's child in his eyes. For COOS and their arts ministry, I sense the call to 'go change the world' as they had chosen the play. It would be a while before the acting, music and cast integrates into one but with God, nothing is impossible.
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