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I bid you all warmly welcome to the ancient and beautiful | 0:00:02 | 0:00:05 | |
city of Chester, home of the world-famous Chester Mystery Plays. | 0:00:05 | 0:00:12 | |
This is the cathedral city of Chester, | 0:00:12 | 0:00:16 | |
which has been steeped in Christianity for nearly 2,000 years. | 0:00:16 | 0:00:20 | |
It's also the home of the ancient Mystery Plays, which, | 0:00:20 | 0:00:23 | |
as you can hear, is being announced by the town crier. | 0:00:23 | 0:00:26 | |
Every five years, the stories of the Bible are re-enacted | 0:00:26 | 0:00:30 | |
in a huge community production with scores of volunteers, | 0:00:30 | 0:00:34 | |
both on and off the stage. | 0:00:34 | 0:00:37 | |
Thousands have seen it over the past couple of weeks | 0:00:37 | 0:00:40 | |
and we are going to get a taste today on Songs Of Praise | 0:00:40 | 0:00:43 | |
as we celebrate the greatest story ever told. | 0:00:43 | 0:00:47 | |
I'm going behind the scenes during the final rehearsals, | 0:00:49 | 0:00:52 | |
meeting the man who plays God | 0:00:52 | 0:00:54 | |
and the playwright bringing the age-old stories to life, | 0:00:54 | 0:00:58 | |
and, of course, we've timeless hymns telling the story of salvation. | 0:00:58 | 0:01:03 | |
Chester is one of Britain's oldest cities. | 0:01:14 | 0:01:17 | |
In fact, there was a Roman settlement here | 0:01:17 | 0:01:20 | |
only 70 years after the birth of Christ. | 0:01:20 | 0:01:22 | |
These city walls were built after the Normans' arrival, | 0:01:25 | 0:01:28 | |
around 1000 AD, and then, in the 15th century, | 0:01:28 | 0:01:32 | |
an ancient tradition began, which has been going strong ever since. | 0:01:32 | 0:01:37 | |
The Chester Mystery Plays | 0:01:39 | 0:01:40 | |
predate the first English translation of the Bible. | 0:01:40 | 0:01:44 | |
It's the story of mankind and man's redemption, | 0:01:44 | 0:01:48 | |
from the creation right the way through to the last judgement. | 0:01:48 | 0:01:51 | |
In the past, the plays have been performed entirely outdoors. | 0:01:51 | 0:01:55 | |
This year they're moving indoors to Chester Cathedral. | 0:01:55 | 0:01:59 | |
There is just something very beautiful | 0:01:59 | 0:02:01 | |
about being in the nave of the cathedral. | 0:02:01 | 0:02:04 | |
It's almost a real genuine community that you are a part of. | 0:02:04 | 0:02:09 | |
You become aware of hundreds of years of devotion, really, | 0:02:09 | 0:02:14 | |
on stage, and to be part of that is extraordinary. | 0:02:14 | 0:02:17 | |
At their heart, they still remain plays by the people for the people, | 0:02:17 | 0:02:22 | |
a coming together of the whole community, | 0:02:22 | 0:02:24 | |
and that is what our first hymn is all about. | 0:02:24 | 0:02:26 | |
It was actually recorded here at the cathedral | 0:02:26 | 0:02:29 | |
with congregations and school choirs gathered together | 0:02:29 | 0:02:33 | |
to worship the Lord in the beauty of holiness. | 0:02:33 | 0:02:35 | |
In 1951, the Chester Mystery Plays | 0:04:48 | 0:04:50 | |
were updated for the Festival of Britain. | 0:04:50 | 0:04:53 | |
Since then, they have been performed every five years, | 0:04:53 | 0:04:56 | |
continuing an ancient tradition | 0:04:56 | 0:04:58 | |
where local guilds or community groups | 0:04:58 | 0:05:01 | |
perform the great stories of the Bible. | 0:05:01 | 0:05:03 | |
For 2013, they have been adapted by writer Stephanie Dale. | 0:05:03 | 0:05:10 | |
I'll go hence and trace my path... | 0:05:10 | 0:05:13 | |
I think the most important decision that we made very early on | 0:05:13 | 0:05:17 | |
was that we wanted to work | 0:05:17 | 0:05:19 | |
with the local community as much as we could | 0:05:19 | 0:05:21 | |
and what was important to us was to find a way | 0:05:21 | 0:05:25 | |
of updating the guilds, the people who would | 0:05:25 | 0:05:28 | |
put on the plays now - the teachers, the commuters, the tourists, | 0:05:28 | 0:05:33 | |
the gay community, the homeless community. | 0:05:33 | 0:05:36 | |
So, for example, creation, | 0:05:36 | 0:05:38 | |
the most logical thing to do with creation | 0:05:38 | 0:05:40 | |
was to give it to the teachers | 0:05:40 | 0:05:42 | |
and so the teachers' guild is now performing creation, | 0:05:42 | 0:05:46 | |
which is a lesson to year four. | 0:05:46 | 0:05:48 | |
At my bidding, may it be light! | 0:05:48 | 0:05:51 | |
Light is good, I see in sight. | 0:05:51 | 0:05:53 | |
Did you ever worry about it being a little bit irreverent? | 0:05:55 | 0:05:59 | |
I think we have tried extremely hard to look at each individual play | 0:05:59 | 0:06:04 | |
and look at the tone of it. | 0:06:04 | 0:06:07 | |
THEY SING | 0:06:07 | 0:06:10 | |
I didn't want to create a piece of museum theatre that people think, | 0:06:10 | 0:06:14 | |
"What has this got to do with me now?" | 0:06:14 | 0:06:16 | |
I wanted it to feel very sort of 2013 and we are in Chester. | 0:06:16 | 0:06:21 | |
Equally, I've been very careful, so, for example, | 0:06:21 | 0:06:24 | |
plays such as the Passion, I've left very much alone. | 0:06:24 | 0:06:28 | |
The Paschal lamb must be as the Lord doth command. | 0:06:28 | 0:06:32 | |
-The Paschal lamb is made ready. -It was made hours before. | 0:06:32 | 0:06:36 | |
It's a drama, it's a play, | 0:06:36 | 0:06:38 | |
but underpinning it is that spiritual tone. | 0:06:38 | 0:06:41 | |
How does that affect you? | 0:06:41 | 0:06:42 | |
I think it's been very, very moving | 0:06:42 | 0:06:44 | |
and particularly when we have been coming into the cathedral | 0:06:44 | 0:06:47 | |
and I think it is extraordinary to think that we are actually | 0:06:47 | 0:06:51 | |
in the space where the monks would have translated these plays | 0:06:51 | 0:06:55 | |
from Latin into English hundreds of years ago. | 0:06:55 | 0:06:58 | |
You do find yourself thinking, "What would they make | 0:07:00 | 0:07:03 | |
"of where we are now and how we are, you know, retelling these stories." | 0:07:03 | 0:07:08 | |
And as a writer, do you think this is the greatest story ever told? | 0:07:12 | 0:07:15 | |
I think it has to be, doesn't it? | 0:07:15 | 0:07:17 | |
Because there are just... Each play, the play is about love, | 0:07:17 | 0:07:22 | |
about jealousy, about hate, about revenge | 0:07:22 | 0:07:25 | |
and I think, whether you have religious belief or not, | 0:07:25 | 0:07:29 | |
I think, how can these stories fail but to move you? | 0:07:29 | 0:07:32 | |
40 days and 40 nights it shall rain... | 0:10:04 | 0:10:09 | |
For the actors involved in the Chester Mystery Plays, | 0:10:09 | 0:10:12 | |
it's a chance to tell the stories of age-old biblical characters | 0:10:12 | 0:10:17 | |
in a historic and holy place. | 0:10:17 | 0:10:19 | |
The building itself and the sort of | 0:10:19 | 0:10:21 | |
hundreds of years of spirituality in the place, | 0:10:21 | 0:10:24 | |
come to be part of the production as well. | 0:10:24 | 0:10:26 | |
In a funny kind of way, | 0:10:26 | 0:10:28 | |
the building becomes a character in the play as well. | 0:10:28 | 0:10:31 | |
I hear the angel and Lucifer. | 0:10:31 | 0:10:33 | |
Actor Nick Fry is a member of the cathedral congregation | 0:10:33 | 0:10:37 | |
and has perhaps the most challenging part of all. | 0:10:37 | 0:10:41 | |
The kind of premise of the play is God's workshop | 0:10:41 | 0:10:44 | |
and so it's creating the world and then sort of setting it off. | 0:10:44 | 0:10:47 | |
-What are you doing in there? -I'm playing God. | 0:10:47 | 0:10:50 | |
-SHE LAUGHS -Yes, I know. | 0:10:50 | 0:10:53 | |
I... I create the world and it's wonderful, the power! | 0:10:53 | 0:10:57 | |
I mean, that's quite daunting. | 0:10:57 | 0:10:59 | |
You can't get anything more daunting than playing God, can you? | 0:10:59 | 0:11:02 | |
No, especially in a cathedral. | 0:11:02 | 0:11:04 | |
The scary bit is trying to come up with a character | 0:11:04 | 0:11:09 | |
because it's quite easy to be a bit distant and sort of just be, | 0:11:09 | 0:11:13 | |
you know, the man in the clouds sort of shouting at people. | 0:11:13 | 0:11:15 | |
Adam! Man! Also I say to thee... | 0:11:15 | 0:11:19 | |
What characteristics are you giving him? | 0:11:19 | 0:11:21 | |
As an actor, what you do is look for humanity, | 0:11:21 | 0:11:25 | |
so when God sort of expels Adam from Eden, | 0:11:25 | 0:11:29 | |
you kind of ask, well, how did God feel about that? | 0:11:29 | 0:11:32 | |
Was he disappointed, happy, sad? | 0:11:32 | 0:11:35 | |
And that's what you look for, | 0:11:35 | 0:11:37 | |
those sort of human characteristics you try and latch on to. | 0:11:37 | 0:11:40 | |
So has this experience | 0:11:40 | 0:11:41 | |
brought you to an understanding of God's humanity? | 0:11:41 | 0:11:45 | |
Absolutely, yes. | 0:11:45 | 0:11:46 | |
As a person of faith, that reveals something to you | 0:11:46 | 0:11:50 | |
that perhaps you hadn't expected to discover. | 0:11:50 | 0:11:54 | |
That sense of seeing God as a person, not just as a concept | 0:11:54 | 0:11:58 | |
or as an abstract being, but as an actual person, is quite interesting | 0:11:58 | 0:12:01 | |
and it's something, actually, I hadn't expected to have happen. | 0:12:01 | 0:12:05 | |
It is for your sins I behight to make reckoning of the right. | 0:12:05 | 0:12:10 | |
'When you think of approaching the divine in terms of humanity, | 0:12:10 | 0:12:14 | |
'of course you think of Jesus, and perhaps God is not necessarily | 0:12:14 | 0:12:19 | |
'seen as that human a figure, but when you start thinking about it,' | 0:12:19 | 0:12:24 | |
man was created in God's image, so there must be humanity there | 0:12:24 | 0:12:27 | |
and when you go and look for that and you find it, | 0:12:27 | 0:12:30 | |
that's quite revealing, actually. | 0:12:30 | 0:12:32 | |
# God so loved the world | 0:12:35 | 0:12:41 | |
# So loved the world | 0:12:41 | 0:12:49 | |
# God so loved the world | 0:12:49 | 0:12:54 | |
# So loved the world | 0:12:54 | 0:13:00 | |
# That he gave his only begotten son | 0:13:00 | 0:13:09 | |
# That who so believeth | 0:13:09 | 0:13:14 | |
# Believeth in him | 0:13:14 | 0:13:20 | |
# Should not perish | 0:13:20 | 0:13:23 | |
# But have everlasting life | 0:13:23 | 0:13:32 | |
# Everlasting | 0:13:32 | 0:13:36 | |
# Everlasting life | 0:13:36 | 0:13:45 | |
-# God so loved the world -God so loved, God so loved | 0:13:47 | 0:13:55 | |
# The world, the world | 0:13:55 | 0:14:01 | |
-# God so loved the world -God so loved, God so loved the world | 0:14:01 | 0:14:13 | |
# That he gave his only begotten son | 0:14:13 | 0:14:23 | |
# That who still believeth Believeth in him | 0:14:23 | 0:14:33 | |
# Should not perish | 0:14:33 | 0:14:37 | |
# But have everlasting life | 0:14:37 | 0:14:46 | |
# Everlasting | 0:14:46 | 0:14:50 | |
# Everlasting life | 0:14:50 | 0:15:00 | |
-# God so loved the world -Everlasting life | 0:15:00 | 0:15:09 | |
# God so loved the world. # | 0:15:09 | 0:15:20 | |
A key ingredient in the Chester Mystery Plays is music. | 0:15:30 | 0:15:34 | |
Local composer Matt Baker has arranged the score | 0:15:34 | 0:15:37 | |
for musicians of all abilities. | 0:15:37 | 0:15:40 | |
It's wonderful to be able to work with all the people | 0:15:42 | 0:15:45 | |
who are performing it. | 0:15:45 | 0:15:47 | |
There have been people turning up out of the woodwork - | 0:15:47 | 0:15:50 | |
wonderful singers, brilliant violinists, a didgeridoo player, | 0:15:50 | 0:15:54 | |
a hurdy-gurdy player, and that's been exciting | 0:15:54 | 0:15:56 | |
because I've been able to compose for so many different instruments. | 0:15:56 | 0:16:00 | |
And what about writing what is reputedly | 0:16:00 | 0:16:03 | |
the greatest story ever told? Is there an added pressure on that? | 0:16:03 | 0:16:06 | |
Well, yes, because you've got to meet expectations. | 0:16:06 | 0:16:09 | |
There's the expectations of those people who are coming to witness | 0:16:09 | 0:16:12 | |
another interpretation of that greatest story, | 0:16:12 | 0:16:15 | |
but there's also those people | 0:16:15 | 0:16:16 | |
who perhaps are going to see it for the first time | 0:16:16 | 0:16:19 | |
and there's the entertainment value, there's wanting to be relevant. | 0:16:19 | 0:16:23 | |
# Full of Grace God is with thee... # | 0:16:23 | 0:16:27 | |
Gabriel, for example, when he talks to Mary | 0:16:27 | 0:16:29 | |
and says that she is going to have a baby, | 0:16:29 | 0:16:31 | |
it's done to a kind of 1940s Frank Sinatra swing style. | 0:16:31 | 0:16:36 | |
# ..Bo-o-o-ody! # | 0:16:36 | 0:16:39 | |
And all the adults get thrown into the mouth of hell | 0:16:39 | 0:16:43 | |
to the sound of a rock guitar, you know, in a kind of almost | 0:16:43 | 0:16:46 | |
Bohemian Rhapsody type thing, so it's a real mixture. | 0:16:46 | 0:16:50 | |
ELECTRIC GUITARS WAIL | 0:16:50 | 0:16:52 | |
Matt, when you're writing, | 0:16:52 | 0:16:54 | |
particularly for something that has this spiritual theme, | 0:16:54 | 0:16:57 | |
how does that affect you? | 0:16:57 | 0:17:00 | |
Well, it may not necessarily affect me when I'm composing. | 0:17:00 | 0:17:04 | |
It might be a performance, | 0:17:04 | 0:17:06 | |
it might be ten performances in and suddenly I'll see it all together, | 0:17:06 | 0:17:10 | |
I'll see it in the context of the whole story | 0:17:10 | 0:17:13 | |
and that connection is made | 0:17:13 | 0:17:15 | |
and I might suddenly become very, very emotional | 0:17:15 | 0:17:18 | |
and that is from a very deep, spiritual level. | 0:17:18 | 0:17:21 | |
The passion is being re-enacted in the Chester Mystery Plays, | 0:17:23 | 0:17:26 | |
right from the Last Supper to the crucifixion | 0:17:26 | 0:17:28 | |
and in that particular part of the story, I haven't used any singing, | 0:17:28 | 0:17:33 | |
but just drummers, | 0:17:33 | 0:17:34 | |
and the drummers create this real pervasive rhythm. | 0:17:34 | 0:17:38 | |
As soon as the crucifixion happens and we see Mary, mother of Jesus, | 0:17:38 | 0:17:43 | |
then it becomes a very simple melody. | 0:17:43 | 0:17:47 | |
HE PLAYS PIANO CHORDS | 0:17:47 | 0:17:51 | |
As Jesus is being put into the grave. | 0:17:51 | 0:17:54 | |
# Sister, yet hope I | 0:17:54 | 0:18:01 | |
# Sister, yet hope I | 0:18:01 | 0:18:10 | |
# Sister, yet hope I | 0:18:10 | 0:18:17 | |
# That your son will rise again. # | 0:18:17 | 0:18:25 | |
This cathedral is the birthplace | 0:21:37 | 0:21:39 | |
of the first medieval Chester Mystery Plays, | 0:21:39 | 0:21:42 | |
but they haven't been performed here for over 60 years. | 0:21:42 | 0:21:45 | |
Over the past few weeks, the clergy have seen the nave | 0:21:45 | 0:21:48 | |
transformed into an auditorium fit for a community production. | 0:21:48 | 0:21:52 | |
'The Mystery Plays, I think, | 0:21:52 | 0:21:54 | |
'have been great for engaging the local community. | 0:21:54 | 0:21:57 | |
'There's people drawn' | 0:21:57 | 0:21:58 | |
from all around Chester into North Wales into Liverpool | 0:21:58 | 0:22:01 | |
and from the cathedral's perspective, | 0:22:01 | 0:22:03 | |
I think it's really good that we are part of that. | 0:22:03 | 0:22:07 | |
'One of the big things, I think, in faith is how we step aside | 0:22:07 | 0:22:11 | |
'and let God do something and I think here at the cathedral, | 0:22:11 | 0:22:15 | |
'everything is very formulaic, very rhythmic, very ordered | 0:22:15 | 0:22:19 | |
'and I've had to step aside from my order' | 0:22:19 | 0:22:22 | |
in trying to keep the cathedral running in a very ordered way | 0:22:22 | 0:22:24 | |
and just allow something new to happen | 0:22:24 | 0:22:28 | |
and that is both exciting, but it's also challenging. | 0:22:28 | 0:22:32 | |
-ALL: -Ego sum Alpha et Omega... | 0:22:32 | 0:22:36 | |
'Hearing all the different bits of rehearsal going on | 0:22:36 | 0:22:39 | |
'and some of those stories, | 0:22:39 | 0:22:40 | |
'you just suddenly get the glimpse of something | 0:22:40 | 0:22:43 | |
'or you hear a sound of a text' | 0:22:43 | 0:22:45 | |
relating to a particular biblical story | 0:22:45 | 0:22:47 | |
and you stop and you hear it fresh, it's spoken in a different way, | 0:22:47 | 0:22:50 | |
and that breathes a whole sort of breath of life | 0:22:50 | 0:22:54 | |
into the cathedral in a new way and that's been really good for us. | 0:22:54 | 0:22:57 | |
Having finished this weekend, the Chester Mystery Plays | 0:24:52 | 0:24:54 | |
now move on to Liverpool's Anglican Cathedral in October. | 0:24:54 | 0:24:59 | |
For the hundreds of local volunteers, | 0:24:59 | 0:25:01 | |
it's been a long-term commitment | 0:25:01 | 0:25:02 | |
and a chance to play their part in telling the great story. | 0:25:02 | 0:25:07 | |
There's a massive range of people involved in the production. | 0:25:07 | 0:25:10 | |
There's teenagers and such, there's people younger than me, | 0:25:10 | 0:25:13 | |
five to ten-year-olds, | 0:25:13 | 0:25:15 | |
who play the parts of the animals in Noah's scene, | 0:25:15 | 0:25:17 | |
and there's people who are, like, 50 and above. | 0:25:17 | 0:25:20 | |
It just fills all the community of Chester. It's quite fantastic. | 0:25:20 | 0:25:23 | |
To see my son here, I kneel before. | 0:25:23 | 0:25:26 | |
Tugged, bloodied and all too torn. | 0:25:26 | 0:25:30 | |
One of the parts I'm playing is older Mary in the Passion of Christ, | 0:25:30 | 0:25:34 | |
the crucifixion, and it's brought it home really, to me, | 0:25:34 | 0:25:40 | |
more about her personal life and, in fact, what she did go through, | 0:25:40 | 0:25:46 | |
so it's a good learning curve if you like. | 0:25:46 | 0:25:49 | |
It's really taken us on another journey. | 0:25:49 | 0:25:52 | |
-God's son in majesty, come down. -JEERING | 0:25:52 | 0:25:54 | |
Many of the volunteers like Jeff McLaughlin | 0:25:54 | 0:25:57 | |
have never performed on stage before. | 0:25:57 | 0:25:59 | |
I have learned a lot of new skills by being on stage. | 0:25:59 | 0:26:04 | |
They've helped me to be able to tell the story | 0:26:04 | 0:26:07 | |
to those people who I meet on an everyday basis in a simple form. | 0:26:07 | 0:26:13 | |
And...when I contemplate the writing of these plays, | 0:26:13 | 0:26:19 | |
which is 200 years before Shakespeare was born, | 0:26:19 | 0:26:23 | |
and they are still being performed every five years in Chester | 0:26:23 | 0:26:27 | |
and the word of God is being spread around. | 0:26:27 | 0:26:30 | |
The story is the same story, | 0:26:30 | 0:26:32 | |
but it is relevant to everyone today as it was 2,000 years ago. | 0:26:32 | 0:26:36 | |
It is my will. | 0:26:36 | 0:26:39 | |
And university student Jessica Lane | 0:26:39 | 0:26:42 | |
also brings her faith to the performances. | 0:26:42 | 0:26:45 | |
I value the fact that I can spread God's word through drama. | 0:26:45 | 0:26:47 | |
It's the first time I've ever done something theatrical that is | 0:26:47 | 0:26:51 | |
also about God and about the Bible. | 0:26:51 | 0:26:53 | |
I will not go with that animal! | 0:26:53 | 0:26:56 | |
'Doing the plays has really helped me to see | 0:26:56 | 0:26:58 | |
'the Bible in a different way, actually doing the shows and seeing | 0:26:58 | 0:27:02 | |
'how people are reacting to it | 0:27:02 | 0:27:04 | |
'has changed my perspective on the stories. | 0:27:04 | 0:27:07 | |
'I've started praying now. Praying through the shows is something' | 0:27:07 | 0:27:12 | |
that I have started and will continue to do. | 0:27:12 | 0:27:15 | |
# You knew me at the start | 0:27:23 | 0:27:28 | |
# You know me at the end | 0:27:29 | 0:27:33 | |
# Dreams and realities | 0:27:35 | 0:27:39 | |
# And everything in between | 0:27:41 | 0:27:46 | |
# Jesus loves me | 0:27:48 | 0:27:55 | |
# This I know | 0:27:55 | 0:27:57 | |
# For sure | 0:27:57 | 0:28:00 | |
# Oh, how he loves me | 0:28:02 | 0:28:08 | |
# This I know | 0:28:09 | 0:28:11 | |
# For sure | 0:28:11 | 0:28:14 | |
# This is the life you made | 0:28:24 | 0:28:30 | |
# And journeyed with all the way | 0:28:30 | 0:28:36 | |
# Dreams and realities | 0:28:38 | 0:28:42 | |
# And everything in between | 0:28:44 | 0:28:49 | |
# Jesus loves me | 0:28:51 | 0:28:58 | |
# This I know for sure | 0:28:58 | 0:29:04 | |
# Oh, how he loves me | 0:29:05 | 0:29:12 | |
# This I know for sure | 0:29:12 | 0:29:17 | |
# Oh, how he loves me | 0:29:19 | 0:29:25 | |
# This I know | 0:29:27 | 0:29:30 | |
# For sure. # | 0:29:30 | 0:29:34 | |
'Lord, thank you for the Gospel and the power it has to change lives. | 0:29:44 | 0:29:50 | |
'Thank you for bringing people together | 0:29:50 | 0:29:52 | |
'in a spirit of unity, music and song. | 0:29:52 | 0:29:55 | |
'Thank you for speaking to us all in your still, small voice.' | 0:29:56 | 0:30:00 | |
And bless us as your story unfolds in our lives day by day. | 0:30:02 | 0:30:07 | |
Amen. | 0:30:07 | 0:30:09 | |
APPLAUSE | 0:30:09 | 0:30:11 | |
Well, the performances may have come to an end, | 0:30:11 | 0:30:14 | |
but the ancient and timeless story of the Bible | 0:30:14 | 0:30:17 | |
continues to be told in churches the length and breadth of the country | 0:30:17 | 0:30:21 | |
and, of course, it's also told in song, | 0:30:21 | 0:30:24 | |
so we end with a hymn that reminds us of the greatest story ever told. | 0:30:24 | 0:30:29 | |
Next week over on BBC Two, another chance to join | 0:33:21 | 0:33:24 | |
Russell Watson in his native city of Salford. | 0:33:24 | 0:33:27 | |
He'll be meeting people along its 30 miles of waterways | 0:33:27 | 0:33:30 | |
and introducing hymns from St Peter's Church in Swindon. | 0:33:30 | 0:33:34 | |
Subtitles for the deaf and hard-of-hearing by Red Bee Media Ltd | 0:33:46 | 0:33:49 |