Whenever I mention Sacred Harp singing, almost everyone I talk to says they’ve “never heard of it.” Yet now that I’m paying closer attention, I seem to see it everywhere. Maybe it’s just the Baader-Meinhof phenomenon—a kind of observational bias where something you’ve just learned about suddenly appears in your surroundings—but I can’t help but wonder if shape note singing is having another “moment.” Recent tunebooks, documentaries, and even theatrical productions suggest that the stark harmonies and communal energy of this centuries-old tradition are finding renewed cultural relevance.
More fascinating is that these ripples have emanated out to a small theater in Australia.
Pat Irwin, known for his genre-defying music with the B-52s and acclaimed television scores, has teamed up with theater creator Ro Bright for The Hall, a new production that weaves the raw, communal power of shape note singing into the fabric of musical theater. The play, produced by Bullet Heart Club, draws heavily from the Sacred Harp tradition to tell a story about family, memory, and resilience.
First published in Georgia in 1844, The Sacred Harp songbook compiled Baptist hymns from Appalachia using shape note notation—a unique system designed to make sight-reading accessible to all. Irwin describes the music as “beautiful, austere, primitive, social choral music,” contrasting its “clamorous, pagan attack” with the polished formality of traditions like the Mormon Tabernacle Choir. “I’ve been to a couple of churches that were singing from that hymnal, and it’s very, very powerful and energetic and raw; ancient melodies that seemed timeless to me. When you get a good head of steam going and a bunch of great singers, it can get pretty raucous” (The Age, Nov. 12, 2024).
The production’s promotional material offers a glimpse into its emotional core through the character of Tup:
“Why is there a stack of The Sacred Harp, 1991 Editions in the toilet? Tup lived and breathed every hymn on every page of her Sacred Harp book. At a mass sing, she couldn’t be outsung. These days, Tup struggles to button up her cardy and put names to faces, she is in constant combat with her daughter Alison and cannot keep up with her grandchild Billie. All Tup knows is… when in doubt, sing loud.”
This intimate portrayal of Tup’s relationship with Sacred Harp singing mirrors the central role of shape note music in The Hall. Ro Bright, who first encountered Sacred Harp singing while studying at NYU, was struck by the power of the tradition after attending a 400-singer convention. The experience inspired Bright to create a theatrical work that channels the immersive energy of Sacred Harp. Bright collaborated with Irwin, their former film-scoring teacher and a Sacred Harp singer himself, to compose a score for a smaller choir that performs live in the production.
“I’d never [written] it before,” Irwin says. “It’s basically four-part singing … but you can almost feel the cold and the wind and the earth in parallel lines. I didn’t want to copy it, but I really love adventurous choral singing, so I guess I was drawing on that” (The Age, Nov. 12, 2024).
Staged at Melbourne’s fortyfivedownstairs theater, the show’s cast combines professional singers with gender-diverse, queer, and community vocalists to reflect the inclusivity of Sacred Harp gatherings. While the production is thoroughly rehearsed, its creators aim to capture the spontaneous, communal spirit that defines the tradition. “Shape note singing doesn’t just underscore the story; it is the story,” says director Kitan Petkovski, underscoring the centrality of the music to the narrative (Theatre Matters, Nov. 2024).
For Irwin, The Hall represents a seamless fusion of his creative passions. Having collaborated with icons like John Cage and scored landmark series such as Dexter and Nurse Jackie, Irwin has consistently sought innovative ways to connect music and storytelling. With The Hall, he introduces audiences to the timeless beauty of Sacred Harp singing, bringing its ancient melodies into a bold new context.
The Hall runs at fortyfivedownstairs through December 2024.
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