6 minute read
The Monmouth Nativity
Joseph Walton shares the story of a brand new commission
It is easy to underestimate the lifelong impact that high-quality musical and artistic experiences can have on young lives. The centre for Music Education Research in Early Years Childhood, describes how, ‘young children have the right to musical experiences which are of the highest possible quality, experiences that are developmentally appropriate and child-centred’.
In his film, ‘Moonrise Kingdom’, director Wes Anderson’s vivid childhood memories of performing in Benjamin Britten’s ‘Noyes Fludde’, are recalled in touching fashion – his formative musical encounter living on as a powerful creative force in his adult life. Anderson states, ‘[Britten's] music is something I’ve always remembered, it made a very strong impression on me. It’s the colour of the movie in a way.’
We are excited that the newly commissioned ‘The Monmouth Nativity’ will have a lifelong impact on our children and beyond this, the staff and families of Haberdashers’ Monmouth School. We are also hopeful that significant numbers of primary school children up and down the country will get to access this beautiful adaptation of the nativity story after its first performance.
Meeting and getting to know composer Russell Hepplewhite made this project happen. Russell has such a natural ability to write for children’s voices. Our inspiring and musically minded nursery practitioner, Vicks Taylor describes how, ‘the intervals are effortless for them to sing and the songs are so memorable’. Russell’s music is always beautifully crafted in this manner. Depth, humour and colour are consistently present, always in service of the text. It is striking how children of all ages engage immediately with both the sincerity and the playfulness of his musical voice.
Russell visited Haberdashers’ Monmouth Prep School in the summer of 2023, primarily to lead song writing workshops with our year six children. On a walk along the River Wye, he floated the idea of composing something for our children to perform. We were heading for a vocal workshop at the infant school (Pre Prep) and this must have influenced my train of thought. I immediately felt that Russell, a former primary school teacher, with his obvious gift for writing songs for young voices, was the perfect composer to create a new nativity for our school.
Throughout the composing process Russell made it clear that this was a partnership between him and the school. His flexible adaptations of the songs (including descants added for older students, scope for extra instruments and improvisation and composing work) means that in our music lessons, we can extract maximum potential and value from his creative input.
Russell explained how, “Composing becomes a much more enjoyable process when those who have commissioned the piece are genuinely involved in gently helping shape it, and this was an excellent example of that sort of journey. I've always believed that works for children are the ones that can have the greatest impact, so after Haberdashers’ Monmouth Prep School have brought it to life for the first time, I am hopeful that it goes on to find a place long-term among the existing nativity repertoire for very young children.”
Russell suggested asking Jamila Gavin to write the play script and provide the text for the songs. I was familiar with Jamila’s work through the National Theatre adaptation of her book, ‘Coram Boy’ and was excited that we might engage such a significant children’s author and playwright to do this.
When Jamila, Russell and I first met to flesh out the idea, Jamila already had a vision of a show that would in some ways lean gently toward’s Britten’s ‘Noye’s Fludde’ concept. Her nativity ideas were structured around sung processionals – these processions would start, end and link scenes, in which any number of children could be used.
Jamila outlined how ‘There could be at least two if not three characteristics of the processionals including: the people, the shepherds and kings, angels and animals! They would process round the auditorium singing commentaries on the scenes. Eg: the announcement that everyone must go to Bethlehem to pay their taxes, or Herod’s chant – Find that baby... follow the star’.
Jamila’s adaptation moves us away from a more traditional, passive retelling, towards something that is embodied and immersive, where children are physically and creatively engaged in the delivery of the story.
She describes how "All children are naturally creative and imaginative; often the Nativity at Christmas is the only opportunity to get involved in theatre and music, so I really wanted The Monmouth Nativity to be as inclusive as possible - and relevant to today."
There is, therefore, a wonderful scope in this production for children to bring their own instinctive and imaginative insights to the piece. Vicks Taylor recalls how, ‘from the first time we played the processional gifting song, ‘Hush Hush’ for the children, they wanted to respond in a physical and lyrical manner. Their movement immediately lifted the soul, and they decided that the use of scarves as gifts would be an appropriate and beautiful addition to the melody.’
It is Jamila’s sincere belief that stories are an essential part of growing up and helping us to become members of our community. The Monmouth Nativity starts with Herod and the threat to his power and ends with the exile of the Holy Family. Jamila states how, ‘it should and could resonate with all refugees fleeing from danger and looking for safety’. It is a story, notably highlighted through this retelling, that remains strikingly relevant to the world which we inhabit today.
From 2025, through partnership with Charanga Music, every primary school in Wales will have free access (and many more subscribing schools across the UK) to this powerful, beautiful and evocative recollection of the story of Jesus’s birth. We are thrilled at Haberdashers’ Monmouth School, that both Russell and Jamila have helped us to thread a new and powerful story both for our school community and for many wider communities beyond.
I am extremely thankful to have the support of the Friends of the School and Haberdashers’ Monmouth School Music Department in bringing this exciting new work for young children to life. Their commitment, both financially and in their hands-on involvement, truly makes a difference, and we can’t wait to see the impact it has.
