Hall -- May 21, 21 and 23.

Drama and music came together in a novel production by Theatre Associates for its annual major production at City Hall. It provides the perfect vehicle for Leslee Christopher-Stevens, author and undoubted star of the show.

With a voice that could fill an opera house, she held the stage with a succession of gospel songs that revealed a remarkable technical range. Moving from a sonorously low register that soared effortlessly into high soprano, she was also an expressive and moving singer. And, as Chelsea, the prodigal `song-bird', the best acting in the large cast came from her.

In what is presumably her first stab at play-writing, Ms. Stevens has centred the action of the play around the efforts by the members of a run-down inner-city church to save its historic building and the surrounding, decaying neighbourhood. The impetus comes from a renegade and street-wise pastor `dumped' on the congregation by the church conference. Encouraged by matriarch, Miss Mabel, the pastor unites the church, cleans up the neighbourhood gangs, brings the fallen `song-bird' Chelsea back into the fold of the church and stages a concert of Spirituals to pay off its creditors.

Ms. Stevens has an ear for dialogue as well as for music but she still needs experience in coping with the very real problem of sustaining the momentum of a story that is constantly shoved aside for another musical number (25 in all). She has problems, too, with moving a large cast through a time sequence of several weeks and in ever-changing locations. This resulted in a production that could -- and should -- have been cut by about half and hour.

At Thursday's opening performance, the pace of the first act, in particular, was tentative, with long intervals between each scene.

But the concept of a musical drama was a valid method of addressing social problems that are all too topical since the recent events in Los Angeles, and Leslee Christopher-Stevens rose to the occasion with a play that was always sensitive and had moments that were both comedic and moving.

There were some obvious technical hitches in the areas of lighting and curtain calls, and whoever was responsible for operating the curtain on opening night seemed to be in an agony of indecision.

There was a well thought-out and fluent performance from Marvin Trimm in the role of the Pastor and Shirley Christopher brought her usual, understated dignity to the role of Miss Mabel.

Mrs. Simpson was played by Lucy Douglas, who is the possessor of a very powerful soprano voice, and gave rousing renditions of Nobody Knows the Trouble and the unaccompanied Lord, How Come We Here. Newcomer Patrice Hill also made an impressive showing in her duet with Chelsea, Balm in Gilead.

There were fine performances, too, in the smaller roles by Donald `Gates' Galloway as the insufferable Gobert, Clarence Smith as Jacobs, Freda Trimm, Glen Crockwell, Nathan Paxton and Elliott Smith.

The solo singers were ably supported by a specially selected choir, who, together with the rest of the cast, were under the direction of Daniel Hill and Ronald Lightbourne. The idea of having the directors taking turns on the piano on the side of the stage as the church accompanists provided a neat method of directing the musical numbers.

The main setting of a church interior was effectively suggested by a simple tall cross, poised over the stage.

The play was directed by Shirley Christopher and Freda Trimm and produced by Edwin C. Wilson. -- PATRICIA CALNAN.