Review of ‘The Black Saint and The Sinner Lady’: “Don’t bother taking a seat”

Clod Ensemble & Nu Civilisation Orchestra bring back the charm of old jazz standards through this immersive montage taking audiences as the very core of their performance. Guillermo Nazara shares his views on the show, to let us know if this big-banded jaunt is deserving of some song and dance.

Dancing through life, skimming the surface and always keeping coo-ool. I know what you’re about to say: “oh, a live music show review starting with a quote from a musical – sooooo original.” Well, let me tell you something, Miss Redundant (I just found your drag queen name), you may be right and I’m running out of comebacks – so give me a break!

Confused by the opening of this text? Understandable – I, myself, don’t know what’s got into my mind either, but here we are! Only that, if we wish to be fair (shut up – we do), that was also my exact impression when I got to the Barbican Theatre last weekend, as everything I was expecting was pretty much the opposite to what was about to unravel.

Welcome to Clod Ensemble Presents (that’s not the actual name of the show –the real title is long, and it won’t kill you to scroll up for once–, but there’s a suggestion for a series of shows). Do not anticipate anything you think you’ve known. Because as much as this montage pays such a beautiful homage to the history of jazz, chances are you may have not lived it (and that’s the accurate terminology) the way it’s brought up here.

Passing through the behind-the-scenes door and venturing into its stage, the seams between audience and artists are completely erased as we are taken into this limelight universe evoking the allure of an old New Orleans night. Recordings of light blues pieces fill the air, as audiences try to find a place to sit in its almost empty space. Musicians commence to take the stand, as the sense of anticipation that’s been floating around from the very first minute continues to grow – something is about to happen, and whatever that is, we can already feel its difference.

Lights don’t dim but glow even stronger as our hostess welcomes us to this one-of-a-kind rendition. You’re not here to listen, at least not to only do that. You’re here to experience.  To breathe the same notes, energy and passion that their magnetic big band, along with its eletrifying dance company, are about to summon. This is a tribute to the true spirit of jazz. And for that to happen, it must get through the skin of everyone around.

Make no effort to remain still. Have no intention of staying quiet. Creativity in its purest, most generous form is revived through this beautifully put together concoction combining exquisite music arrangements with elegant, captivating and viscerally pungent dance numbers. Alternating bits devised and performed by the ensemble alone, followed by the inclusion of its public into the interpretation, the entire montage works like the ultimate theatrical experience – where viewers withdraw that title not only to be fully enveloped by its art, but also to contribute by delivering a portion of their own.

Featuring remarkable performers and founded on an even more superb concept presented with immaculate adroitness, The Black Saint and The Sinner Lady truly puts heaven on earth by regaling us with one of the most enjoyable, talented and intoxicating jaunts music theatre has had in offer in a long time. Simple in means, but tremendously rich in attributes, its alternative, almost clandestine vibes make of it an outspoken secret destined to become the talk of the town. Bring no assumptions, and refuse to get your hopes up. It’s pointless when they’re bound to be surpassed anyway.

All pictures credit to Graeme Miall and Jesse Olu Ogunbanjo.

Upcoming shows by Clod Ensemble are available on the following link.

By Guillermo Nazara