Tom Morris’ staging for the Bristol Old Vic, first seen in 2013 and shown in cinemas earlier this week, locates its drama where Messiah most resembles a Bach Passion: the unflinching gaze on suffering, the chorus of malevolent actors as well as grief- and guilt-stricken onlookers, the solo protagonists reflecting, hectoring, lamenting. But Messiah is an Easter oratorio, its end not death but resurrection, its musical momentum always tugging like a bouncy spaniel towards the light.