I so thoroughly enjoyed Christmas Revels last December that I decided I must attend again this year.  Although I prefer not to be out after dark, I couldn’t manage to attend a matinée due to personal scheduling constraints, so I chose today’s 7:30 performance, a day after the actual solstice.  I arrived at the Square a bit early, so I window-shopped in the Coop and other stores for a while, then headed to Sanders Theatre just before curtain time.  This year I chose a very good seat, in the mezzanine level, and almost in the very center, behind the lighting system.

In his introduction to the program, Artistic Director Paddy Swanson paid tribute to the spirit and courage of this displaced French-Canadian community:  forced from their homes by political forces beyond their control, they continued to sing and dance and keep their traditions alive.  With 65 million refugees fleeing hardship and persecution today, the story of how the Acadians survived and adapted speaks to the power of music to heal and bind a community.

Led by Music Director Megan Henderson, this year’s production included traditional dances, instrumental pieces, carols, games, and drama. The cast this evening included Master of Ceremonies David Coffin, singers Josée Vachon and Lisa Ornstein, fiddler David Greely, professional players Steven Barkimer, Noni Lewis, Ross MacDonald, and Lola May Williamson, in addition to Les Voix d’Acadie Chorus, Les Petits Voyageurs Children, the Grand Pré Traveling Band, Le Grand Dérangement Dancers, the Middlesex 4H Fife & Drum, the Pinewoods Morris Men, and the Cambridge Symphonic Brass Ensemble.  The striking set, featuring an enormous tree, was designed by Jeremy Barnett; lighting design was by Jeff Adelberg; costumes were by Heidi Hermiller.

Part 1 of the program included traditional French melodies, songs popular among the Québécois and Acadians, dances, poetry, the mournful Le Départ du Canada, carols, and hymns. Audience participation is a feature of Revels; we sang verses of Angels We Have Heard on High, the drinking song Vive La Compani’, and Lord of the Dance.  After a short intermission, Part 2 included more carols, dances, folk songs, a play, a Mardi Gras song, and a recital of the poem The Shortest Day.  We in the audience, together with the cast, again sang three numbers: the round Dona Nobis Pacem, the hymn Ave Maris Stella, and the Sussex Mummers’ Carol.

As was the case last year, I would be hard-pressed to pick any favorites.  I did enjoy the dancing (and I didn’t realize that the French-Canadians also do step-dances).  The longsword dance, choreographed this year by Gillian Stewart, was mesmerizing.  The most unexpected piece was the chicken fling (!), and the most entertaining the battle between the alligator and King Rex.  I can’t pick a favorite song this year, though I did enjoy Vive La Compagnie — I remember the song from my childhood but I don’t know where or when I learned it.