The morning star and Catholic messenger., 1877-05-27
Performances by st. Georges Young Mems Bsnsvo.
lent Association.
IComIhunicated.l


entertainment on this occasion was dramatic
performance, and the play selected, "The
Father's Curse" The drama is undoubtedly
the best one we have ever seen put on the
stage by our Catholic amateurs, and the young
gentlemen deserve credit for diligent research
and judioious choice in the limited repertoire
Of Catholic plays The first step towards sue
GEES was therefore assured. The scene is in
Spain at one time, at another In Turkey. The
story is as follows: The Turks had overrun
Spain and subjected the people thereof. Bat
owing to pereecutions of an unbearable nature
the inhabitants rose in arms, and under the
standard of Pelagius, sought to recover their
liberty. secession from the Spanish ranks,
in the person OF Don Aiorz,, was brought
about by Tarick, the leader of the Turks.
Alou ,, in whose veins ran the best blood of
Spain, proved himself suoh an able warrior
and evidenced such superior qualifications
q comm ander that the Turks achieved great
victory. Among the prisoners taken was Don
Vssco, the father of Alorz,.
Don Vasco had heretofore discr dited all
rumors of bis son being a renegade, but when
he saw him in the palace of Tarick, witnessed
the hoDors conferred upt him, and heard that
same son beseech him to renounce Christ and
become a Mahomedan, in the justifable anger
of an outraged father, he cursed Alop 20 with
".father's curse" Though Alor 20 had been
fearfully guilty, yet enough of what is good in
human nature remained in him to forcibly and
faith fully show him the error of his ways and
cause him TO regret his past actions. In addi-
tion to this, the treatment which his father
received at the hands of Tarick who owed his
success to Alonzo's abilities and valor, go in,
censed the latter that he determined to return
to his own people, make reparation for the
harm he had done, rejoin the religion from
which he had apostatised, aud repay with
blood and vengeance the indignities put upo
Don Vasoo. A fierce engagement ensued IN
which the Christians were victorious, only at
the cost of the life of Don Alopzo. So much
for the plot. The following was the cast of
the characters:
Don vasco de Comes. Duke Of Castillo BruIeau
Don foeez frisnd s Of Alfonso Won Hans
Jaanino Christian captive and steiner
Tsrck @andsria chief OF the Turks: Borg
Pedro R'spanioh peasant. Bent
FsbriOc, az brother Of Yedro Werner
Mendoza Spanish ofncer. Schmidt
snsii,o spAni'h soldier. sohsub
Sancho, Becker
The character of Don Vasco was Q labor of
love with the author. He threw around it
such d grandeur of bearing, such beauty of
situatiop, and suoh splendor of language, that
the actor lad merely to do passaby well, and
thereby please any but hypercritical audience.
Tbe gentleman into whose hands the character
was intrusted did not 10 all respects, however,
attain to the standard of the authors ideal.
In the first place his costumiug was not
appropriate. He wore q facsimile of the
Ghosts dress in Hamlet. And not only in
dress did he resemble the departed Dane, but
in gait, gesture and voice was he the poor
ghost His intonation was so grave, labored
and long drawn. out that invariably as he made
his appearance, tie phrase REQUIRED to our
mind, Remember me-" We wish distinctly
to disclaim any intention to offend, and as
proof we here write that the fault of his per-
formanoe was owing to a too great regard for
q rule recognized as essential by all public
speakers, viz: distinct enunciation. In en-
deavoring to speak slowly and to be clearly
understood, he went to extremes. He was too
slow. But this fault is very easily overcome
particularly as it arises from q 6eaire to
avoid what is usually disoreditable charac-
teristio of amateurs-rGpidity.
Don AloDzo is the leading part in the drama
Ga the whole it was acted ENTHUSIASTICALLY
the playing approached Professional stand
ard But his delivery very often was 30 rapid
that person seated in rbe centre of the dense
ly-packed hall oonld not catch the text or it's
meaning. In the first act, he stood with his
head cast down-for what reason Is best known
to himself. We saw ny necessity for so doing.
Aud in the second act, instead of wearing
Turkish costume, he retaine cd that of e Spanish
nobleman, This was either an oversight, or
the gentleman thought Turkish clothes " un-
becoming his person.
Lopez is the villain, and it seems that every
well regulated play cannot be without one."
He was the cause of Alouzo's apostacy, for
object az the latter would CT could, the viii
lain still pursued him." 1t was personsted
pretty fairly, but might have been improved
upon.
Juanino, the Christian slave, had only one
opportunity to attract decided attention, and