Critical Mass: Bernstein’s masterpiece goes beyond politics and religion to humanity, pure and simple.

Bernstein’s Mass
Jubilant Sykes, ASO and Festival Chorus, Kristjan Järvi et al
Adelaide Festival Centre, March 9

It could be a scene from any urban street: the edifice of a dilapidated church looms, imprisoned in scaffolding. Its only adornment, aside from the undeniable splendour of the stained glass windows, is layer upon layer of graffiti on the surrounding parapet (“Atone”, reads one hastily scrawled tag). The structure is in transition, and so are the people who gather outside; some devoted churchgoers, some curious souls who find themselves drawn to the building on a passing fun-run.

So too are we drawn to the eclectic yet utterly poignant world of Leonard Bernstein’s Mass. From these humble beginnings an exuberant spectacle emerges, crowding the stage and orchestra pit of the Adelaide Festival Centre to 184 of Bernstein’s required “singers, players and dancers” (other productions have commanded well over 200) . It’s easy to see why this gargantuan theatrical work is seldom staged and has become the domain of arts festivals: apart from its sheer size – it’s almost a festival in itself – it’s a complex work, with spiritual...