Themed Productions

.​

We specialise in creating and performing fully scripted themed productions.

Our major themed works and premier performances include:

  • The Resurrection: A two-act gospel oratorio written by choir member Ellen Havard (National Theatre, Oxford Playhouse), premiered at the Jazz Café Camden, and broadcast on BBC Radios 2 & 4 and BBC1’s Easter Story.

  • At The Foot Of The Cross: A broadcast production aired nationally on BBC Radio 2 in 2020.

  • Windrush: Scripted by Andrew Graystone and performed at the Greenbelt Festival in 2018.

  • Lost And Found: Frank Cottrell Boyce’s adaptation of the Prodigal Son, staged at the Liverpool Echo Arena in 2018.

  • Four Days: Written by Abi Morgan for The MS Society and presented at St Paul’s Cathedral in 2017.

  • The Christmas Trilogy: Original holiday productions performed at St Martin-in-the-Fields (2019, 2022, 2023), including The Night Watchmen’s Nativity, which was featured on Sky Arts TV in 2020.

  • Soul at Saint James: Bespoke themed events crafted specifically to reflect individual themes and connect directly with local audiences.

In the context of Christian worship my preference is for polyphony or the glories of the Anglican musical tradition and my instinctive reaction to Gospel is one of slight queasiness – but if you missed Sunday Worship on R4 this morning I urge you to listen. Lucy Winkett and the Soul Sanctuary Gospel Choir plus soloists produced the most thought-provoking and moving exploration of the doctrine of the Resurrection I have ever heard.
Olive Simpson

Singer

Sung Scripture

“Sung Scripture” is where a singer intones a Bible passage; not as plain reading, but as a short, improvised melody laid over a looped backing track. It’s become a central feature of our themed productions, and we bring it into the service at moments where it feels right and helpful.

The point of sung scripture is simple: to make these ancient texts feel alive again. Setting the words to melody, with space for improvisation, subtle rhythmic shifts and repeated motifs from a loop, gives the text fresh contours and emotional weight. The band provides a steady, modern foundation while the singer’s improvisation draws out tone, phrasing and feeling you don’t get from straight reading.

Gospel-inflected melodies in particular have a knack for turning words into emotions. A psalm becomes a cry; a parable becomes a conversation; a sudden revelation is given urgency and colour. That musical imagination helps the congregation hear nuance they might otherwise miss.

Practically, sung scripture invites different kinds of engagement: it makes space for reflection, encourages quiet participation (a shared hum, a responsive line), and can bridge the gap between performance and worship. Used sensitively (matching tone to context and respecting the text) it’s a powerful, contemporary way to rekindle attention to scripture and draw everyone, newcomer and regular alike, deeper into the story.

“I play your last album often. It’s on the memory stick in the car!”

The Late Keith Grant

Legendary Producer