22 – 23 September

Something as stripped back as Hugh Lupton and Sarah Moody’s presentation of a series of mystery tales, drawn from Jewish, Islamic and Christian traditions, comes close to being rather a culture shock. There is something profoundly ‘old school’ about a stand-up narrator, particularly when ancient texts with religious contexts take centre stage; it is as if suddenly we are in the company of a 13^th century Malian Griot revealing great truths through ancient stories.  

Tall, with long white hair pinned back and with piercing eyes that always engaged a riveted audience, Lupton, dubbed a ‘master storyteller’ by The Guardian, takes us on a fantastical journey of the imagination in which beautiful queens, wise kings, treasures beyond imagination, flying carpets, birds, beasts, devils, spirits and angels spiral around tales of morality, loyalty and love.

Using facial expression and body language to enhance his delivery, Lupton never seemed anything other than comfortable in his own skin, with complete command of the material which was drawn from sources such as the Apocrypha (the story of Tobias and the Angel Raphael) and the Bible (the Book of Job). A great nephew of Arthur Ransome, Lupton remembers the author’s stories as an important part of growing up and a catalyst for his own work as a children’s book author and storyteller.

To his side, local Bristol cellist Sarah Moody weaved spell-binding lines on the cello that featured, amongst others, a Palestinian song and a Jewish Hymn. The fretless instrument is the perfect vehicle for the quarter note scaling of middle eastern music, rich double-stopping passages adding further atmosphere. Sometimes she added her own voice for texture, as can be found in Arabic music. There was always a seamless transition from cello to spoken word as each story was unpacked.

Moody has a popular following in Bristol (many of whom were in the Tobacco Factory to cheer her on), she being well-known in local jazz, folk and world music circles and through her ‘Jamming for the Terrified’ sessions, in which improvisation is seen as a key to unlock expression. Taking deep dives into new genres is very much Moody’s thing, and she had clearly enjoyed researching the themes that underpinned this piece. Lupton occasionally lent percussive support on Doumbek and Bodhran drums.

On a Monday night in Southville it seemed improbable that we should find ourselves transported to the Queen of Sheba’s affair with King Solomon, discover why a mosquito makes its distinctive sound, or that we should find the metal, silver and golden keys to a palace not opened for hundreds of years. But on our behalf Lupton and Moody are happy to gaze in at the vast cradle of creation and lovingly bring some of its earliest stories back to life in high definition, like stills from a literary space telescope.

★★★★☆  Simon Bishop, 23 September 2025

Photographer credit: Matthew Needham