I love a play that inspires me to do some Wikipedia research, and this is one of those; most (if not all) of the characters are historical figures. In mid-18th Century London, famed composer George Frederick Handel (Jim Ahrens) is looking for his next work. He's bored with operas, and upon the urging of his not-valet John (Jeremiah Gamble), he decides to take on Messiah, setting a libretto by a prior collaborator Charles Jennens (Brandt Roberts) to music. The two disagree about the piece, and Handel also faces opposition from King George II (Craig Johnson), who is a fan (as was his late wife Caroline), but is warned about the use of sacred text in secular entertainment by Bishop Henry Egerton (Ben Shaw). To complicate things more, Handel hires singer Susannah Cibber (Christine Wade), whose recent affair, subsequent child, and infamous lawsuit have caused quite a public scandal. But he defends her, and even tries to help her make peace with her rival Kitty Clive (Vanessa Gamble), asking them both to sing in the London premiere. Will these two be able to work together? Will the composer and librettist come to agreement about the piece? Will the King and his Bishop allow this sacred story to be told in a theater by secular performers? History tells us the answer, as does this play.
Jeffrey S. Miller directs the talented cast (also including Mary Miller as a Handel supporter) as they speak in accents both English and German (both Handel and George II were born in Germany). Highlights in the cast include Vanessa Gamble playing a stereotypically dramatic and self-centered actor, and Craig Johnson with a very funny portrayal of the King. The cast is dressed in elaborate 18th Century costumes, with the Art House North stage, formerly a church which feels appropriate for the subject matter, transformed into a stately and elegant setting with dark wood, period furniture, and the pipes of an organ (costume design by Barb Portinga, scenic design by Jeremiah Gamble and Dalen O'Connell).
This is not a musical, but you can't spend this long talking about Handel's Messiah without hearing it. We hear snippets of music throughout the play, with the most recognizable song from Messiah, "Hallelujah," concluding the show. The cast sings beautifully a capella, which sounds lovely in the space, driven by the gorgeous voices of the dueling divas Christine Wade and Vanessa Gamble.
Joyful Noise is a historical story written with modern sensibility, and explores some interesting and relevant themes - the often hard and sometimes ugly work that goes into the creation of art, women being judged for their choices (or lack thereof), celebrity scandals that are more nuanced than they appear, censorship of the arts by men in power who want to silence artists who may threaten their power, and the question of who is allowed access to things deemed as sacred by those in charge.
