TV review: Passionate

Despite my disappointment that BBC Three's Manchester Passion musical, aired about four hours ago now, did not in fact feature any George Michael songs which surely would have had the old boy turning in his grave, on the basis of this programme alone I've come away pleased with this year's Easter television.

I was expecting an hour of shakycam footage of hammy street performance, but what I got instead was an hour of sharply produced, eloquently compered, reasonably well sung and excellently shot live television.

It is almost a rule today that outside London, places in Britain simply aren't shown at their best on television. This programme was a showcase for Manchester, reminding us in an unexpected way that big things can happen outside of That City and can gain national attention with national standards of production.

The songs are affecting as you might imagine a collection including proven hits from Joy Division, New Order, Oasis and The Smiths to be. Although these are not A-list actors, the songs never quite descend into pastiche on account of some reasonably effective stage writing and acting relating them to a biblical base, but in any case the songs, I am glad to say, are not really what this production is all about, and therefore that is why it succeeds. It succeeds for the best reason: it simply employs a large number of components that work well on television as a format.

Keith Allen's compering initially seemed a little brusque for the celebratory occasion, but it soon transpired that like so much of the production, as it is best called, this was all part of the plan. Allen's observing of the cast of Passion on a large screen broadcast in front of the Albert Square crowd for whom he acted as announcer was all part of the story - for near the end he leaves the stage to change into a suit so that he can play Pilate on stage.

In an inversion of the audience's expectation, Jesus (Darren Morfitt) is brought onto the stage for the final act, rather than continuing Allen's observation of him via video link, a convention which instils the viewer at home with even more particular expectations of what might happen next. In another twist playing with our technologically informed ideas of what should and should not happen on TV, for the section of the story in which Christ speaks to his disciples of loyalty to God – the first real plot element – we hear a simple, old-stlye bleepy and embarrassing mobile phone ring. There's an awkward pause and the camera is still. But of course, it's Judas’ mobile and not some passer-by’s. He has other people and things to think about than loyalty.

When the compere takes over with his video screen from the full-screen action of the musical theatre around which this television event is based, the street action cuts out and attention (and video screen) focuses on ex-Primal Scream vocalist Denise Johnson who performs the more ballady songs featured. She sings some of the songs rather well, but she has the less good selection of songs and the acted musical segments are more entertaining, but once again that's not really the point. She's there to keep the crowd who can only see grainy, laggy big-screen footage warmed up - and a lively crowd looks great on TV, even if they can be seen to be given some semi off-screen prodding to cheer up. The pause allows the actors to move between areas of the city which have been selected for their looks, so when we cut back they're in an ideal filming location.

Lighting and camerawork for each seen has in many cases been meticulously arranged, and particularly since we can see everything is happening live, without retakes, the effect is impressive - with fine close-ups, calculated zooms and attractively positioned wide shots and even a camera circling the cast during Jesus’ capture. To complete the attractive look of the setting, Albert Square's buildings are uplit attractively with a bright blue glow and the final appearance of Jesus on the clock balcony of Manchester Town Hall is effective as a dramatic device.

Adding to this an extra section of rapid-fire interviews conducted with roving reporter and camera crew following the procession of a large, radiantly glowing cross apparently weighing half a ton through the streets of Manchester literally on the backs of a crowd was impressive to behold. This simple but stylised gesture remarkably instilled in me something like a sense of national pride, particularly at the evident presence of a more diverse crowd than one might expect – Christians from around England and Scotland, a non-denominational believer, a Muslim marching with the cross out of respect for Jesus the prophet and even a Scotch born-again goth Christian. Part theatre, musical, documentary, outdoor spectacle and special occasion broadcast, it is an experiment which combines genres with good reason and with few seams.

This is good TV, well researched and produced, and much more suitable for the wider (largely irregularly- or non-practicing) population of Britain to enjoy than a mass broadcast or a Heaven and Earth special, though those may have their place. The BBC has made good use of its license fee this Easter by producing, yes, something lowish-brow and fun, but yes, also an appropriate, respectful and educational way of celebrating a British Easter with pride.

●Check out how the Diocese of Manchester went all hip to get locals to take part.