• High Church and Informal

    Someone coming out of church on Sunday who isn’t a regular at St Mary’s said to me, “That was great – exactly what I like – high church and informal”.

    I was pleased that the person had understood what we are trying to do. High church and informal is precisely one of the ways in which I would describe the worship at St Mary’s. (Liturgical but not stuffy is another way of describing the same thing).

    The combination of all the glories of high church worship with a relaxed sense of fun seems to me to be quite an attractive option for churches.

    Generally speaking, I think that churches tend to be successful if people feel that they are in some way happy to be there. Some people describe that as feeling at home though I’m not sure that I’d talk about it like that. I think some people like going to churches where they feel they might be able to make friends though the real goal is a church where some people come feeling that and some people come sure in the knowledge that people will leave them alone if they want to be alone.

    The word for describing the sensibility of a local church is (or at least used to be) churchmanship. In many ways, it is a rather unhelpful word now, with all its sexist connotations. However, we still need ways of speaking about what particular churches are like.

    Churches have been described by all kinds of words in the past. Churchmanship has sometimes been described in terms like anglocatholic, low church, high church, evangelical broad church, moderate. I was interested to see recently that some people were starting to use Greenbelt (after the famous Christian Arts festival) as a churchmanship kind of term.

    I’m also interested that people are increasingly bonding multiple identities together to form new identities in terms of church in the same way that they are doing over cultural identities. People think of themselves as Black British, Asian American, New Scot and so on, the modifier indicating something that the basic identifier does not fully convey. Thus in church we get things like Open Evangelical (which I think has meant low church, supportive of women in ministry but not supportive of gay people in ministry) and Liberal Catholic (which I think has meant less stuffy than anglocatholic in worship and supportive of women and gay people in ministry until it costs anything).

    There are many ways of describing St Mary’s. We are certainly trying to be a Black Shoe congregation, which I think tells you just about all you need to know. However, High Church and Informal also describes things very well and I came out of church very pleased that someone had got it.

    What “churchmanship” term would you want your congregation to be known by. And what’s a better and more inclusive word than churchmanship anyway?

6 responses to “Dialogue des Carmélites”

  1. Moyra Avatar
    Moyra

    Mmmmm now you’re giving me ideas!

  2. Rev Ruth Avatar

    Oooh, I have that on CD and haven’t listened to it for ages. Love that chopping sound!

  3. kelvin Avatar

    I was told that some kind of scaffold had been rigged up offstage complete with block and tackle to provide the definitive thud as nun by nun, they fell to the floor.

    The stage was littered with dead nuns by the end.

  4. david Avatar

    It is a real shocker at the end. Liked Poulenc’s music, and the singing was good (Monday performance).

  5. Jonathan Ensor Avatar
    Jonathan Ensor

    Attended the performance on Thursday. Particularly liked the voices of Mere Marie(Elysia Leech) and the Father Confessor(L’Aumonier), James Geer.

    Tim Dean led the performance admirably and there was hardly any poor casting although obviously with a student performance some were better suited to their roles than others.

    James Geer is to be singing the Male Chorus in Britten’s “The Rape of Lucretia” at Aldeburgh-a favourite opera of mine with the Pagan story offset and contrasted with the choruses commenting from a Christian perpective.

    It was good to see(at a distance) Donald Maxwell and Linda Ormiston in the foyer before the performance, both professional singers of some distinction. I remember them both from Good Shepherd Chorus performances at St Mary’s years ago.(Donald Maxwell sang the baritone part in a performance of Elgar’s “The Light of Life” and Linda Ormiston, who studied maths at Glasgow Uni and singing with the late Winifred Busfield who taught me, sang the alto part in Brahms’ Alto Rhapsody under Christopher Seaman.

    The staging of Dialogue des Carmelites was very effective and succeeded in conveying most of the pathos of the final scene without gross exhibitionism, which would have made it unbearable to watch.

  6. John Woodhouse Avatar

    It’s a great work – saw it at ENO.

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