Those Glorious Songs of Old: “All Is Calm: The Christmas Truce of 1914,” at the Black Box Theatre through December 22

All Is Calm: The Christmas Truce of 1914, now playing at the Black Box Theatre, tells of the first Christmas in the trenches during World War I. British and German soldiers on opposite sides of the conflict struck an informal, one-day truce for Christmas when they crossed the “no-man’s land” dividing them and came together for a peaceful celebration. This historical narrative, written by Peter Rothstein, is related through the letters and journals of the soldiers who lived it, interspersed with a blend of beloved Christmas carols and popular folk and wartime songs. (Its vocal arrangements are credited to Erick Lichte and Timothy C. Takach.) The all-male cast in director Lora Adams' presentation features Larry Adams, Gregory Etzel, Evan Gagliardo, Tyler Henning, Paul Holland, Ben Holmes, Thayne Lamb, Michael Lee, Jorge Mendez, and Kirsten V. Myers Sr., and we attended opening night on Friday, December 13.

Mischa: First of all, if you have any inclination to see this, get your tickets immediately. The Black Box is quite the intimate venue, and if there's any justice in the world, all the upcoming performances will be sold out. And who knows? By the time you read this, it may already be too late! I missed seeing Adams' 2022 rendition for exactly this reason: I waited too long to get tickets.

Kitty: Yes! Opening night had a full house! And I’m so glad, because this show deserves to be seen by as many people as possible. Its story is poignant without being sappy, and the music is beautiful.

M: The whole production is solidly anchored by the riveting, vigorous opening and closing numbers “Will Ye Go to Flanders?” and “Auld Lang Syne.” Both songs encapsulate the pain and longing presented by the story to great effect. The tale of the “truce,” of course, represents a beautiful wish for peace in the midst of the trenches. But All Is Calm doesn't shrink from the reality that after the war’s first Christmas, there were years of fighting to go, with all the horror and brutality that meant – and no more Christmas truces. It captures the darkness along with the sparks of hope.

K: I think that this show’s success hinges on two things: the music and the pacing, and Adams' ensemble nailed both. Because the music is all performed a cappella, it’s essential to have a cast of talented singers. No worries with this group. Collectively, they had strong, beautifully blended harmonies, and all of them shone individually as soloists, too. Props to music director Ron May for a job well done. These performers also kept up a pace that consistently matched the tone, slowing during more serious moments and speeding up during energetic, lighthearted scenes. I never felt like things dragged or moved too quickly.

M: I agree! And we should note that it’s quite a short presentation, with a run time of about an hour. About those strong voices – that's definitely true for the singing. But each actor had various characters to play in individual speeches, and when they had to compete with singing that continued (more softly) in the background, sometimes the spoken voices didn’t carry as well. This was a shame, because each one of those vignettes brought something unique and often touching to the table.

K: I loved that all of the monologues were taken from soldiers' exact words. You can’t beat the power of a firsthand account, and while I agree that sometimes there were moments in which it was difficult to hear, I think these actors did justice to the real men they were representing. The performances seemed genuinely heartfelt. It was truly moving. And of course, the music only enhances that emotion, especially given so many nostalgic Christmas songs.

M: As you might guess from the show's title and concept, “Silent Night” is the central showcased song. It's unpretentious but affecting, all the more so because it's sung in both English and German versions, representing and also creating the commonality between the soldiers on both sides. All through the show, the musical arrangements and transitions keep things interesting, and at one point during “Silent Night,” the singing slips out of coordination and magically manages to give us scattered groups and individuals participating in the fabled “Christmas Truce” in many locations.

K: That was a favorite moment for me. I also really loved when the British and German soldiers came together to pose for a photograph. A camera bulb flashed, flooding the group in bright light for just a split second, capturing the occasion in time. It was a simple yet powerful effect.

M: There’s another great lighting effect that comes in to enhance “Silent Night” … but I shouldn’t give it away.

K: Yet another reason people should see this for themselves! We should also shout out lighting designer (and fellow Reader reviewer) Alexander Richardson, as well as Adams, who designed the set and costumes, too.

M: As for musical praise, there's so much to choose from. But I loved when Ben Holmes became not a British soldier or a German soldier, but a French opera singer for a lovely rendition of what's known in English as “O Holy Night.” I appreciated how Holmes performed it tenderly and lyrically, rather than with the bombastic treatment it sometimes gets. But I sort of hate to mention individuals in this way, as the power of All Is Calm truly lies in the ensemble working together throughout, with specific voices coming out for specific purposes and then rejoining the glorious a cappella throng.

All Is Calm: The Christmas Truce of 1914 runs at the Black Box Theatre (1623 Fifth Avenue, Moline IL) through December 22, and more information and tickets are available by calling (563)284-2350 and visiting TheBlackBoxTheatre.com.