In this case, the article in the Arts and Theater page of the Family Leisure section of the February 24th, 1967, Palo Alto Times – along with some great pictures – tells the whole story better than I can!
“The Bay Area premiere of Benjamin Britten’s modern setting of the 13th century miracle play, “Noye’s Fludde” (Noah’s Flood) will be presented Friday, March 3, and Sunday, March 5, at 7:30pm at St. Mark’s Episcopal Church in Palo Alto.
A cast of more than 150 actors, singers and musicians will participate in the production, which is being staged under the direction of Prof. Norman Philbrick of Stanford University and musical director C. Thomas Rhoads.
Britten’s work, first produced in England in 1958, is a jolly, tongue-in-cheek version of the Noah story from Chapters 6, 7, and 8 of the Book of Genesis. In this musical retelling of the biblical story, God (played by Mike Broderbeck) commands Noah (Phil Downs) to build an ark on which he and his family and all the species of animals and birds (played by members of St. Mark’s St. Nicholas Children’s Choir) will be saved from a great flood.
Brittan’s work follows the traditional practice in which medieval miracle plays embellished biblical tales with comic and dramatic moments to produce entertainment as well as a sermon.
Mrs. Noah, who is scarcely mentioned in the Bible, is turned into a richly humorous and frequently inebriated character. She is the skeptic who sits at the side drinking with her cronies (Pat Armstrong, Ainslie Baldwin, Barbara Eisele, Julie Kulmann, Jane Wilkerson and Helen Yuill), not believing her husband’s warnings. She argues with Noah twice and must be dragged into the ark as her friends drown.
The story gives human characteristics to the principals. It depicts Noah as dominated by his wife, yet firm in the belief of his mission. Mrs. Noah is determined not to leave the pleasures of her drinking companions and their children (Michael Sampson, Gavin Tanner, Evan Moore, and their wives, Sheila Thompson, Judy Frewing and Pamela Scott) are portrayed as very excited about the great adventure.
Even God is subject to dramatic treatment. He speaks and drums to show his anger with the introduction of gong before the flood, but with bright, clear tones and bells after the flood to show His appeasement.
Britten combined elements of the medieval treatment of sacred literature and the uncomplicated, direct approach of children toward this basically serious subject. The text is Middle English and the music contemporary in a blend of traditional and new – a unique adventure into Christian theater.
Rhoads, organist-choirmaster of St. Mark’s, has organized an orchestra of 75 musicians, including a professional string quintet and leading string players from the area’s youth orchestras. In addition, there will be a larger recorder ensemble headed by William Barnhart of Palo Alto in the production. There also will be a percussion section of piano, organ and handbells.
Proceeds from the performances will benefit Community House in East Palo Alto, Boy Scout Troop 16, St. Mark’s Music Fund, and the World.” (Britten Opera).
Reviews of the performances were very positive. The Times Tribune wrote:
“The musical setting…is direct in expression, archaic in flavor and pictorially descriptive.”
“The naive story-telling suits his use of a large cast of children….but the music is anything but naive. It is highly artful.”
“Even the congregation joins in three hymns.”
“Britten’s rhythms too, are not simple. Things were not always together in the opening performance, but the good will for the effect was there, ably directed by C. Thomas Rhoads.”
“Philbrick’s staging carried out the complex simplicity of the score. The ark was built before our eyes. The inumerable heads of animals and fowls on the children, rocking in the ship on the flood, waking to an alleluia, gave the illusion of the packed ark.”
“The unicorn, which has come too late and fades away, unable to board the ark, is a touching moment.”
“There is unfailing originality in the march of the animals (chanting Kyrie Eleison), the drowning flood and storm at sea, the dancing music and the dove’s flights, the bell choir that accompanies the unfolding rainbow.”
(Palo Alto Times)
And Finally, the article noted that because the opera was being performed at a church, admission could not be charged. But due to the large expense involved in staging the performances, the church was asking for voluntary donations. Due to the phenomenal success of the opera and high demand for tickets, St. Mark’s added a third performance! (Ticket Demand Prompts)
Note: All photos courtesy of the articles listed in sources from the Palo Alto Times Tribune. The photos were all originally black and white, but were lightly colorized to make them easier to view.
