Article
Change
Community
Hospitality
6 min read

“We’re amongst everybody.” The novel communities serving London

The city's intentional communities live in, and love, particular places.

Robert is a journalist at the Financial Times.

 

A man stands in a relaxed way on the doorstep of a brick building.
Mark Bishop at HOP East.

Mark Bishop has an unusual view from his home in Stepney, east London, at Friday lunchtimes. Because the nearby Stepney Shahjalal mosque has insufficient space for worshippers at its busiest weekly service, neighbouring Shandy Park turns into an impromptu outdoor worship space. For the main Friday service, more than 500 men alternate between standing and kneeling in prayer in the open air. 

The scene has seized the attention of Bishop, an ordained Church of England priest, because his home is the House of Prayer for East London (HOP East), a community that he and Carrie, his wife, founded in 2023. From its base in Faith House, built as a 19th century mission outpost on the edge of Shandy Park, it is seeking to bring the power of Christian prayer to the same area. Bishop and Carrie live at HOP East with their children and another couple. 

The community is one of multiple Christian “intentional communities” worldwide engaged in concerted efforts to develop new forms of monastic or communal living to minister to an increasingly secular world. The trend has had particular attention in the UK because of the decision of Elizabeth Oldfield, a Christian writer and podcaster, and her husband to live in an intentional community with another couple. In Germany, Johannes Hartl 20 years ago in Augsburg founded a community called the House of Prayer where there is always at least one community member praying, 24 hours a day. 

HOP East was partly inspired by Hartl’s community. The Stepney community shares with many other Christian intentional communities both a strong sense of ministering to a particular place and a focus on the importance of prayer. As well as the residents, there are a growing number of non-resident members who regularly come to Faith House for prayer, worship and to eat together. 

The open-air prayer highlights both the contrast between HOP East and its many non-Christian neighbours and their shared commitment to prayer, according to Bishop.  

“We’re amongst everybody, to be good Christian neighbours,” he says. 

Kirsten Stevens-Wood, a lecturer in Cardiff Metropolitan University’s school of education and social policy who has a research interest in intentional communities, says Christians have a particular affinity for communal living. 

Stevens-Wood points out that sociologist Rosabeth Moss Kanter – better known for her later management writing – concluded after researching intentional communities that Christianity’s mixture of shared commitment and rituals was highly compatible with communal living. 

“It enables communities to be more stable and endure longer periods of time,” Stevens-Wood says. 

New communities such as HOP East coexist with the survivors of previous waves of idealism about communal living. In the UK, they include Northern Ireland’s Corrymeela Community, which seeks to heal the polarisation caused by the political conflict in the region. Bishop himself was born in the Lee Abbey community in Devon, a Christian community linked to Anglicanism founded after the second world war. 

The London outpost of Lee Abbey runs a hall of residence for international students in Kensington, on the other side of London from HOP East. 

“They definitely come in waves,” Stevens-Wood says of intentional communities. 

HOP East’s focus on prayer is manifested in multiple ways, according to Bishop. They include a commitment for members to say the Lord’s Prayer daily at noon, wherever they are, and to engage in “prayer-walking” – praying in the streets as they walk along them. 

“To our Muslim neighbours, it really helps to be more serious about how we pray, because they’re really serious about prayer,” Bishop says. “This is very much a neighbourhood where prayer is strong.” 

He and Carrie had long felt a calling to pray for London and East London in particular before setting up HOP East, he says. 

“We began, out of lots of different activity, to ask a question: ‘What would it look like to form a community as an expression of church?’” Bishop recalls. “We’re a new monastic expression. We’re living out, working out a rule of life and other things that might define what a new monastic community is.” 

Members of the community range in age from school-age children to older, retired people, Bishop says. He describes the community as “both gathered and scattered”, with only a few of the community members living in Faith House. 

But he says living in a relatively small number of East End neighbourhoods – including Limehouse, Mile End and Shadwell - unites them. 

“Everybody else has a level of proximity to us,” Bishop says. 

The points of contact between apparently contrasting communities are clear visiting the imposing Kensington townhouses owned by Lee Abbey London. 

Sue Cady, Lee Abbey London’s chaplain and deputy director, says the site is home to 150 international students and around 25 team members who form the community on the site. 

The students living at Lee Abbey London are mostly not Christians while the team members who serve them make up the community. Team members consist of a small core of longer-term workers like Cady and one-year volunteers who are single and share rooms. While Cady would like to welcome more British volunteers for the one-year positions, nearly all at present come from overseas on charity worker visas. 

Cady shares with Bishop the sense that a place where Christians live and pray together is special. Lee Abbey London expresses that partly by training up a new generation of Christian leaders, she says. 

“The young Christians are being grown and developed and then after their year with us they’re going all over the world as stronger Christians, grown in discipleship and leadership,” Cady says. 

She is also clear that the life of the community affects the students. 

“Our mission field is the international students, who are really open about UK life and asking us questions about our faith and the difference our faith makes to us,” she says. “They notice something very different about us that’s peaceful and kind.” 

At the heart of both communities, however, is a sense that prayer is a vital, sustaining, communal activity. 

For Cady, that manifests itself in Lee Abbey London’s distinctive atmosphere compared with other halls of residence. 

“People comment on the sense of God’s peace and God’s presence here, which I think is due to the fact that our team worship and pray daily for the residents that live here, and that the majority of our team are on gap years themselves,” she says. 

At HOP East, meanwhile, prayer is partly a manifestation of the members’ practical desire to help impoverished and disadvantaged people in their area. Community members pray for the area’s many refugees and those working with them, for victims of modern slavery and for many other social causes. 

However, the pledges to engage in prayer-walking and saying the Lord’s Prayer daily reflect Bishop’s conviction that prayer is a sustaining activity regardless of any practical need. Bishop insists prayer is a vital part of relating to God, of mission and ensuring people have opportunities to encounter the love of Christ. 

“We always try to remind ourselves… that prayer is always worth it, in and of itself,” he says. “We’re really aware of a hunger in this cultural moment we find ourselves in for healthy spiritual practice.” 

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Review
Culture
Film & TV
Identity
Music
6 min read

Life is complicated, and Alan Bennett know it

Beneath The Choral’s cosy nostalgia lie some discordant truths

Roger is a theologian and author with a particular interest in the relationship between faith and culture.

An Edwardian choirmaster conducts.
Ralph Fiennes conducts.
Sony Pictures.

There is something wonderfully disconcerting about the movie, The Choral. On the face of it, it’s a feel-good tale in the light-hearted British comedy-drama tradition. Set in the fictional Yorkshire town of Ramsden during the First World War, the local choral society put on their annual production. Confronted by a succession of challenges and setbacks they persevere and accomplish their goal. 

With Ramsden beautifully conceived and filmed in the model village of Saltaire, it is evocative of its time and place. Scripted by national treasure Alan Bennett, now aged 91, it is shot through with his well-observed wit, penchant for understatement and gentle melancholy. This is a heady mix.  

That the film is directed by BAFTA, Olivier and Tony Award winner Nicholas Hytner, a longtime collaborator with Bennett (The Madness of King George, The History Boys and The Lady in the Van) and includes Ralph Fiennes, Roger Allum and Alun Armstrong among its cast only underlines the dramatic quality of the ensemble. 

So, all things considered, you’d expect this to be a heart-warming foray into the cosy nostalgia of the familiar. The fact that it is also the first original screenplay from Bennett in 40 years, with Elgar’s The Dream of Gerontius as its musical heart, would also seem to guarantee universal critical acclaim. Wrong on both counts. 

From the outset, something doesn’t seem to be quite right. It’s a little off. The progression of a young postboy and his mate around the town on their bikes, delivering telegrams to young, widowed women is heartbreakingly poignant. But Ellis, the postboy Lofty’s mate, disturbs the pathos of the moment by cheerily embracing the possibility of romance, “Grief, it’s an opportunity!”  

Of course, the backdrop of the film is the war. The war has robbed the Choral Society of its choirmaster and its male members. Then, having recruited young men in their place, the prospect of conscription on their eighteenth birthdays is inescapable and inexorably drawing closer. We know what’s coming and a shroud is cast over their endeavours. 

The war also throws up issues of patriotism and the demonisation of everything German. Even Battenberg cake is frowned upon.  

The newly recruited choirmaster, Dr Guthrie played by Fiennes, is also held in suspicion as he had previously lived in Germany by choice. For him it was a nation of high culture, philosophy and civilised society. 

At one point he recites  

“A man should hear a little music every day of his life so worldly cares may not obliterate the beautiful in the human soul.”  

Revealing he is quoting “Johann Wolfgang von Goethe” he is abruptly rebuked, “For God’s sake man, lower your voice.” So it is that the Society abandons its customary performance of Bach’s St Matthew Passion for the Elgar, with Bach “being a Hun!” 

Guthrie is also suspect in the minds of some because “he is not a family man”. Behind the euphemism lay a relationship in Germany, cut short by the beginning of the war and the German joining the Imperial Navy. 

When the choir learn from a newspaper report of “829 Germans killed at sea” they break out into a spontaneous and raucous singing of “God save the King”. Knowing the ship, Guthrie is left in private, unshared grief. For the audience, the nationalistic enthusiasm rings empty, hollow and jarring. 

People’s lives are complicated, what drives and motivates them remains largely unknown and the consequences frequently unanticipated. Bennett pulls back the curtains a little bit to give us a peak. Things are not straightforward. Issues are not as black and white as we tell ourselves. Our impressions and the stereotypes that inform them do not stand scrutiny. 

There’s the mill owner, Alderman Duxbury (Roger Allam), who funds “the Choral”, chairs the committee and expects a leading role is the epitome of privilege. Yet he has lost a son to the war and is deeply grieving himself, unsupported by his wife who is paralysed by her grief and emotionally frozen. 

Then, as the film progresses, Clyde returns from the front after being ‘missing in action’ and having lost his arm. However, he discovers that his fiancé, Bella, had ultimately been unable to wait for him and has taken up with Ellis.  

Processing his trauma and negotiating the loss of Bella, to his shame he manipulates her for a sexual favour. Hero and villain, pain and pleasure, light and dark all laid bare within the beauty of the Yorkshire landscape and Elgar’s transcendent music. A gifted tenor, Guthrie casts Clyde in the leading role while Bella and Ellis take their places in the chorus. 

Complicated! 

Other characters are interlaced into the tale with their own backstory. Salvation Army singer, Mary, has an angelic voice and takes the female lead. A committed Christian she resists romantic advances, while Horner, the Societies’ accompanist wrestles with the whole idea of war and the love that dare not speak its name. When the sensitive musician is robustly led away to prison by the military another discordant note is played in the audience’s mind. 

Then there are cameos by a pompous and self-important Elgar, the thoughtful and compassionate Mrs Bridge, a woman of ill-repute, and the local vicar, who is more concerned about the Roman Catholic theology contained in John Henry Newman’s religious poem, The Dream of Gerontius upon which Elgar based his oratorio.  

“Purgatory …” says Clyde, “… I could take you there tomorrow!” 

The closing thought is Newman’s, not as the Society performs, but as the lads, now 18 and in uniform, wave to their friends as their train leaves the station. The oratorio scores the scene with the Angel’s farewell: 

 “Softly and gently, dearly ransomed soul, In my most loving arms I now enfold thee.” 

While the film has been received warmly by some, not everyone is convinced. Rachel LaBonte is clear that the narrative is: 

“… suffocated by the sheer number of characters at play, and the odd disconnect between their individual arcs.” 

And Guy Lodge in Variety observes: 

“Bennett’s script flits inconsistently between generations, foregrounding certain perspectives before they suddenly recede …” 

But actually, this is the genius of Bennett’s script. This is what life is like. Every day we bump into loads of people, each one living their own life, with their own issues and their own back story. And you can be sure there is an ‘odd disconnect’ between our lives no matter how much we have in common. 

And life does ‘flit inconsistently’ between triviality and seriousness, between the interests of the young or the old, between what matters, what’s a priority and what’s a diversion. 

While the substance of the town of Ramsden, the elevating art of the Choral Society and horror of the war frame the story, what it’s about is the people. A diverse, complex set of individuals who inhabit a particular place and a particular time. They share the space, but each have their own lives to navigate and each of their lives is complicated. And the number of characters and the flitting about is precisely how Bennett makes his point. 

It was a first world war British Chaplain who advised the men at an army camp in Zeitoun, Egypt to be careful about judging those around them: 

“There is always one fact more in every man’s case about which we know nothing.” 

If we only knew what baggage people are carrying, what they’re wrestling with and what they’re keeping to themselves we would see them in a different light. We might even, perhaps, treat them more kindly. 

Life is complicated. We are complicated. In these febrile times it would be good to remember that and cut each other some slack. 

Support Seen & Unseen Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. This is made possible through the generosity of our amazing community of supporters. If you enjoy Seen & Unseen, would you consider making a gift towar

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
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