Last Train to Tomorrow

World premieres don’t happen to me every day. And as Andy Ryans of the Hallé pointed out in his speech to the orchestra’s stuffers on Sunday afternoon, it was a first for our group. I’d been feeling despondent and worried he wouldn’t actually come and make his annual speech, but finally there he was, curtseying no less, and drinking two glasses of gin-free orange juice.

The Hallé did all right – but that doesn’t mean everything is absolutey fine and not worrying! – last year, and would have been stuffed without us. I think that’s what Andy meant.

This was a family concert, and the Bridgewater Hall was teeming with tiny future customers, but this was no Hallé light as far as the music was concerned. The theme was the Kindertransport, and conductor Carl Davis started off with Smetana’s Mẚ Vlast: Vltava, to signify where some of the Kinder came from.

At this point my companion, who shall remain anonymous, dozed off very slightly, but that’s why I have been equipped with elbows, and the situation was soon rectified. The livelier Brother Come and Dance with Me from Engelbert Humperdinck’s – the original one – Hänsel and Gretel, was beautifully sung by the Hallé Children’s Choir, wearing red shirts and really brightening up the choir seats.

The final piece of the first half was a lesson in orchestral instruments (which the stuffers had been deemed as not being in need of), courtesy of Benjamin Britten, assisted by six brand new actors from the MMU. Anyone who needed to know about woodwind or the banging of percussion players now do so. Hopefully this will have provided interesting facts for any newbies in the audience. (And on a personal note, I was very pleased to see Roberto Carillo-García in his original place where I could see him clearly.)

I have a dreadful confession to make. I was feeling pretty cynical about this world premiere thing. I felt that regardless of what Carl Davis’s specially commissioned piece for the Hallé Children’s Choir actually turned out to be like, a polite audience would applaud to order and we would be none the wiser.

Sorry about that.

Carl Davis admitted to being nervous. Maybe he was, but this showman always seems very sure of himself. Today he wore a bright blue coat, except for the second half when he changed into black, which was more suited to the occasion.

For Last Train to Tomorrow the children of the choir came onto the stage, to act as children on a train, and the actors, Amy Cameron, Jack Coen, Lowenna Melrose, Lucas Smith, Sinead Parker and Will Finlason joined them there. Their words as well as the songs were written by Hiawyn Oram.

The actors told the brief story of what the Kinder of the Kindertransport went through, from Kristallnacht until their arrival in England. The choir sang beautifully and with feeling, with the odd solo bringing the attention to individual children and what happened to them. There was nothing new in all this. We have all read the stories, and many of us know it from novels about this period in history.

But that didn’t detract from the effect Carl’s piece had on us. I’m afraid I have to say that after a while I didn’t hear his music, nor the doubtlessly expert playing by the orchestra. That’s because what the children sang and the actors acted out was so strong and touching that you simply had no room for musical excellence.

It is time to eat my words. Not only was this a fantastic new piece and a great performance, more than deserving of honest applause, but the audience had the good taste and sense to know that it required a standing ovation. This went on for some time, which was good, because there is much repair work that can be done with a sleeve in the dark. My cheeks were almost dry when the time came to leave.

I’d like to think that in years to come, I’ll enjoy being able to say I was present at the premiere.

Needless to say, after so much ovation, we didn’t make the five o’clock train home. But it’s good to remember that 10,000 children made it to their train to England. (Carl made a reference to what things are like today. I suspect he wanted to make a point about what has become of us.)

6 responses to “Last Train to Tomorrow

  1. At one point while the choir sang and things felt quite dramatic, there was a growing wail from somewhere, which I first assumed to be a planned sound effect. It turned out to be an unhappy infant somewhere at the front (always is) who needed to be carried out. But I couldn’t help feel that the crying went very well with the performance.

    • Pam Finlason

      I’m with you there; I also thought the crying was intentional! Maybe it’s a bit low-brow, or maybe it’s years of watching musical theatre, but all I could think of towards the end was what a wonderful musical this would make (Les Mis type, obviously). I didn’t want it to end. Even I was a bit sceptical about the marriage of the music, young choir and actors (and my 21 year old son was one of them!) but I thought it worked brilliantly (I accept I could be accused of being biased though). Eitherway, in my experience, I don’t think audiences like to get up out of their seats and give applause unless they think it deserves it (I was the one ‘whoop whoop’-ing btw).

      • Mothers, eh? You can’t take them anywhere. (I did guess from your name that you were connected to one of the actors.)
        Yes, a musical would be great. Is Carl listening?

  2. I would so love to hear this! I sang a piece by Carl Davis when I was just out of university and he was a good chum in those long ago days. The piece was a kind of monologue sung by a fervent Elvis Presley fan and like all Carl’s music was terrific! I hope this gets on to the tv soon….and I am interested in the Kindertransport connection!

    • Trust you to know everyone! It was filmed, so I hope there will be something to show for it, either on a screen or a CD/DVD.
      I thought of you at the time, especially with Candle in the Dark in mind. You’d have loved it.

  3. Pingback: Azzi In Between | Bookwitch

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