New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1871-07-22

entirely from the stage, when the central curtain was
rased exposing representing the entry of Christ
into Jerusalem The central Stage was opened up TO its
full extent, and tho background sunny landscape
Great crowds Of children with palm branches came out
OF Of the side streets; men, women, ana children
Joined them, al with palm branches. In the midst OF
this crowd Of 800 persons, dressed In vaiegated
costumes SaviOrwas sitting upon an ass every
eye strained TO catch glimpse OF Christ tJ9sepn
Mai) noble figure and Of the best delinoatorso OF
the Savior that Ammergau has ever produced The act
ing followed very closely the description given IN tho
Bible. AS the procession slowly advanced having
emerged when about half way down inc
central STAGE into s1e eeeot anu
thence upon tho proscenlum. the chorus and tho
multitude sang Z" Hail Thou! Son OF David Hosanna'
Blessed is o who comeh to take possession OF Davds
throne" &C. Christ eat with sad face upon the ass; he
then descended and impaired his teachings the people
The effect that this scene produced was remarkable The
Jeus of the peoples childhood there, the yeritabc
Jesus that we have in the pictorial Bibles ever since
boyhood and the slight exclamation OF surprise and
wonder that rose from tho people well be under
stood Christ was over six feet in hight we'll made, but
somewhat SLENDER with black beard and hair the latter
falling locks far his shoulders For the first part
Of the performance thas been said that his features were
too sad that he did not excite enough sympathy There
Is truth IN this his full POWER earnesness and majesty
only fully into play during the representation OF
the Passion proper.
SCENE IN THE TEMPLE.
sThe followed Teach other in rapid succession
While the people singing hosannas around the
Savior the curtain OF the central stage rose, and dis
played the interior of the temple wherein buying and
selling going Buyers and sellers were standing
around booths containing doves and other animals The
moneychangers Jews. of true Polish type. were there
Christ approached thom, and addressed to them the
words "My house is q house Of prayer, but ye have
made it den Of thieves" overturnng at the same time
one Of the money-tabes. shall not attempt to follow
the Play through the IS following scenes nor
describe the many beautiful tableaur VpontS
From beginning to end 1t was one sublime
whole, OF which can only give slight
idea. Tho second act represented the sitting OF
the High Court of the Sanhedrm; Caiaphas, Annas,
priests and cOunseors sitting in judgment as to what
should be done with Christ The preceding fabeau was
that Of Jacobs sons keeping their Sheep Joseph in his
nOwery garment, advancing toward them, while the
brothers plotting his destruction. The third act
representing the parting in Bethany, was one OF the
very best Of the morning scenes 1t Is preceded by TWO
significant tablearrst the departure OF young Tobias
from his PARENTS secondly the lamentng BRIDE in the
Song of SolOmon-bOth having reference to the parting
Of Jesus from his mother the explanation being gwen
in the usual way by the singing chorus. "Whero Is He
gOne-where is He gOne-the grandest OF all pcOpie'
said part OF the chorus, as the brides song OF
amentatOn, TO which the other answered, " Dearest
SOUL be comforted Thy friend will come once more
In the parting scene introduced by these two trtIeaor
we had our first glimpse OF Fraulein Francisa Hunger,
who persOnated the Virgin Mary. For the Virgin, great
care is taken by the committee to select
girl OF the village whose fame is spotess. 1t is d-
cult part but which Franciska filled to perfection
She is charming sympathetic being, full OF tenderness
and neither she nor Christ could control their emotions
the parting The eyes OF both were filled with
During this scene the delineator of Judas had
the first opportunity to exhibit his truly dramatic talent
contrast with the deep emotion OF the virgin JUDAS
was amenting that useless outlay of 800 denari for
the precious vestment Franciskas form was hardly 20
fully developed could wish, but her face was eA-
trenely expressive. Among the female actors Fran
ciska took the first place. she acted her part Win snch
power and fitness that little was left to critcse
her Indeed we doubtif criticism should be admitted IN
Judging of the whole play. That has grown up with the
life OF the people, and Is infinitely above the ordinary
run Of dramatic acting The fourth act represented the
last journey Of Christ TO jerusalem and is followed by
the Last supper, the Betrayer and Jesus at the Mount
Of Olives which usually concludes the first half Of the
performance when pause of an hour ls made 10 gave
the actors and spectators time to parake Of some re-
freshments 1t must have been great relief to the
chorus which had been standing in the hot sun long
time and not less to the spectators not under cover
since they had not been allowed any shade except their
hats The peasant women were literally burned Inc
acting in the above scenes was well maintained The
role of Judas became constantly more interesting The
Ieau showing Jacobs selling their brother joseph
TO the Mechanism merchant the chorus explaining
the text in song. Gregor Lechner. who personated
Judas was perhaps the finest actor among the Amner-
gauers Throughout his long and arduous role he never
became exravagant. 1t his desire OF gam that oD-
tanned the mastery over him, and ne retained 1t until the
moment when remOre seized him. he found that he had
betrayed the Master to death. When the blOOdnoney
was paid down to him, Judas grasped it and placed 1t
into his mOneybag with acting that was not to be
surpassed After the play was over noticed several
parties Of both Englishmen and Americans address
Judas and thank him personally for his exquisite per-
Torrance. lie was everywhere acknowledged to be the
best actor.
CHRIST BROUGHT BEFORE TIE HIGH PRIEST
When the second part about to commence, the
youths and madens OF the chorus in gaycoOred coaks
trooped right and left and formed line in the
front Of the stage The deep voice OF their leader the
choragus heard explaining the qbe0U about to be
shown and they wheeled back in two lines thanking the
approach to the inner tleater just its curtain rose
We had represented wherein the Prophet OF God
received a blow for speaking the truth TO Ahab
This typical of the treatment OF Christ before
the High Priest. The figures in the tabeau remained
motonless as rocks for several minutes, until the
curtain slowly fell again. and the chorus renewed its
line across the front When the song was over, the
singers filed off to either SIDE and the action OF the Play
was taken up. Jesus was seen dragged prisoner
before the High Priest taken up into the balcony his
house, and questioned with brutal harshness. Many
aecusers appeared against the captive, and the rabbe
camored against him but he retained his patient dig
nifty and answered nothing He cufed on the face
v serving for refusing to speak, and that
ton OF looking on at cruelty which IL in
tended to foster IN this part Of the play began to
grow strong with the spectators Joseph MAR sustained
the lofty character assigned to him with perfect skill 1t
was impossible TO- see him brought by degrees to his
death without and warmer sympathy with his
terrible position he spectators dwet on every detail
Of this mOckery Of justice with painful interest Even
the rather lengthy proceedings before Caiaphas
watched unwearedly by attentive "hOuse" and each
step OF the visits PLATED and to Herod gazed
with eagerness Plate very well rendered by To-
bos Flupger who himself played the principal