Passive audience, be no more. To start the University Chorus' presentation of Noye's Fludde on Sunday, conductor Sarah Mead pointed her baton with a flourish-at the audience.

Most of the 150 people seated in Slosberg Recital Hall then rose and began to sing: "Oh Heaven think of me, and purge away my sin!"
We were meant to read the words and the melody from a song sheet enclosed in the program. Surprisingly, most people cooperated. After three verses of the hymn, we sat-perhaps embarrassed or relieved, certainly eager for the story to unwind. From the back of the room, elevated above us in the lighting booth, we heard the booming voice of God, read by Music Department Chair James Olesen.

Noye's Fludde, composed by Benjamin Britten, puts the biblical story of Noah's Ark to music. The text of the piece is taken from a version of the Chester Miracle play written at the end of the 16th century. The original play was written to be a pageant of sorts-performed by townspeople and the local church choir, using simple props and scenery. Britten intended his modern version to fill a similar purpose-hence the audience participation during three hymns scattered throughout.

Brandeis' production featured Karl Gutwin '04 as Noah and Rachel Rausch '05 as Noah's wife. Though these two had the most lines, the biggest stars-judging from applause, at least-were the children of the Lemberg Children's Center, dressed adorably as small animals and birds on Noah's ark.

Overall, the performance showcased clear talent, but was shy of being spectacular. The singing was solid, but at times overpowered by the accompanying orchestra or distracted by complications with the set.
Gutwin, a bass, displayed definite command over his many lines. His resonant, confident voice carried the piece smoothly.

Rausch's singing was a bit weaker, sounding strained at times. She was sick, however, and had been to the hospital earlier in the week, so this may explain the relative lack of vigor. Rausch's acting was more impressive; in the story, her character refuses to abandon her circle of friends-the gossips-to the flood, and steps onto the ark only when her sons drag her aboard. Rausch effectively conveyed the attachment to her cronies and seemed genuinely torn to leave them behind.

Noah's sons, Sem, Ham and Jaffett, were played by Mira Elias '06, Elizabeth Seltzer '07 and Aaron Olson '04, respectively. They, along with their wives, played by Elana Blumenthal '04, Sara Kahan '07 and Kerri Sheingold '04, enthusiastically set out to help Noah build the ark. They carried large sheets of painted wood, which they then connected as the sides of the vessel; next, they "cut" down a fake palm tree, attached a white sheet, and stood it up as a proud mast.

The only harmonies of the piece took place between Noah's sons-and this was pulled off well, meshing a soprano, alto and bass in a way that added variety and expressed the sons' excitement about building the ark. At times, the sons overlapped each other with separate words, creating a fast-paced effect that boosted our anticipation for the imminent flood.

The most novel singing style came when Noah's wife and the gossips sang together. Their words were upbeat and staccato, a nice change of pace from the rest of the music and fitting for their nonchalant drinking and merriment in the face of destruction.

The animals entered in pairs, each singing "Kyrie Eleison!"-Greek for "Lord have mercy"-as they crossed the stage. Here was a case where the impact of the words was unfortunately lost to the orchestra's louder volume. Each "animal" designed his or her own costumes, which were simple, yet intriguing-tall rabbit ears, small pipe cleaner tails, cardboard humps for the camels.

The Lemberg children, escorted onstage by older "animals," wore long orange beaks or black leotards with fuzzy pink tails. They were phenomenal-true, they only walked onstage, sang one line, huddled in the ark and then tiptoed off stage after the waters subsided. But they were cute, which is enough for little kids to elicit grins audience-wide. When one boy waved to the audience from the ark, he endearingly captured Britten's community-centered intent.

For non-musicians, Noye's Fludde also featured two ballet interludes-the raven and dove that Noah sent from the ark to scope the scene once the rain stops. Both dancers were stunning: Elizabeth Cape '06, as the raven, and Karen Shilo '04 as the dove who returned to the ark with an olive branch. They began with spins, leapt with panache and most convincing for their role as birds, fluttered their arms to mimic flying.

The piece ended as Noah's sons pulled a rainbow across the stage, suspended from the ceiling by thin cables. Two chorus members emerged with a large sun and moon, and the animals stood in the aisles holding stars. The audience rose for its third hymn, and when we sat back down, we knew we had not just watched the show; but had been a part of it.