Noye’s Fludde
Benjamin Britten
Conductor: Flo Peycelon
Fat Lady Opera and Overspill
Harbour Church, Folkestone, 07 November
This was one of the most memorable productions of Britten’s powerful, moving community opera I have ever seen. And that’s no mean claim because I have seen it dozens of times since I first fell in love with it as a participating schoolgirl in 1964 – only six years after it was written.
Tania Holland, of Fat Lady Opera, who directs, has collaborated with Overspill – a Folkstone arts and performance project which explores rising sea levels, water themes and ancient history – to reinvent this beautiful work for 2026. And it works in spades.
Most of the animals entering the ark are local endangered insects such as Dover twist moths, dainty damselflies and violet click beetles. The children from five nearby primary schools schools who portray them have representative costumes and sing lustily when their moment comes. Puppet insects fly round the church. At the end every member of the audience is given one and there’s some terrific choreographed video work on three back screens (caterpillars consisting of line of people on the beach, for example) which I suspect Benjamin Britten would probably have liked.
Another lovely addition for this production is dancers (choreography by Michaela Cisarikova) who use the aisles to represent waves and the rising storm as well as the two birds who are eventually sent out when the storm subsides after 40 days. They are all fine performers with George Perez outstanding among them because he seems to have a body made of rubber and does a lot of spectacular lifts and leaps.
Britten specified that Noyes Fludde, based on the Chester Miracle Play, should only be performed in churches and large halls (not theatres) because it’s a gloriously immersive, inclusive piece. It’s also full of disparate elements, beautifully held together by Holland and, crucially by Flo Peycelon on the podium. As well as directing singers, she has to manage a string quintet, a string orchestra, piano, organ, recorders, trumpets, handbells, and percussion some of it unlikely such as the tuned jars which evoke raindrops. And because we’re in a church, the layout is musically awkward with pillars and the like but somehow sightlines are adroitly managed and it all hangs together from those first dramatic chords to the very end when it fades away into peace and there’s a huge lump in my throat – as always.
The piece was firmly written for amateurs with just a handful of professionals to anchor it – Owen Brannigan was the original Noye, for example. Here, Simon Thorpe in the role has a bass voice like melted dark chocolate and brings gravitas, fatherly affection and humanity to the character. Antony Dennant leads the central string quintet adeptly and Linda Hirst is convincing as Noye’s initially recalcitrant wife. It’s unusual to have a female voice of God, or to have him/her on stage to greet Noye at the end, but there’s no reason why not and Teresa Gallagher is suitably resonant and authoritative. There’s lot of good acting in this show.
Beyond that the orchestra, comprising players from the local community, deliver every note of Britten’s sparky but accessible score with sensitivity and the passages which are effectively spoken in rhythm against the music work as well as I’ve ever heard them.
Above all Noye’s Fludde is a very powerful piece and this production moved me even more than usual – tears as the trumpets herald the arrival of the animals and at the point when Britten – stroke of genius – brings in that old Victoria hymn, “Eternal Father Strong to Save” at the top of the storm.
All in all this Noye’s Fludde was a remarkable, collaborative achievement by a huge number of people.
It wasn’t however, the totality of the event which began with three compositions by local under-16s, a project for which the organisers had secured sponsorship. These too were outstanding achievements in a completely different way although still inspired by the flood theme. Ira Jones’s First Drop is s three part choral piece, attractively constructed and nicely sung by an adult chamber choir. Oakley Hogben’s Can I find You? is a wistful and thoughtful piece about boats and finding refuge – which obviously speaks loudly to people living on the Kent coast in 2026. Finally came Rishank Lahkar’s Flight Path for string quintet which explores the life and plight of bees with a lot of buzzing and pizzicato. This was my favourite of the three but this not to detract from the quality of the other two.
It’s an event which will have changed many lives. This children (trust me, I know) will never forget taking part and as a piece of environmental awareness raising it is as perceptive as it is original.
Bravo to all concerned.
