Litchfield enquirer., 1881-06-02
Regular Correspondence of the Evening Post. l

[Regular Correspondence of the Evening Post CAMBRIDGE, Mass, May A. 1881.
 The managers of the Greek play at Harvard tonight stole a march on the outer barbarians and ticket speculators by giving preliminary perform 2nce of ''King Gdipus." The render- ing Of the play this evening, though nominallv final rehearsal, reached all the dignity and spirit of an opening night ; the stage scenery. the costume, the music and the choral effects were exactly what they will be next Thursday evening when il Ies ular series of perform. ances begins and thousand tickets issued to the Gristoi of Boston and Cambridge filled Sanders Theatre with a cultivated and appre- CiatiVe audience, among whom were seen Madame Gerster, Mrs. Julia Ward Howe, many of the Harvard professors and number os that galaxy of literary men in the rays of whose fame Boston basks and beams.
 The tragedy of "king Gdipus' is playedby the Harvard students n the Sanders Theatre, a spacious playroom annexed to Memorial Hall, the stately and splendid structure erect ed by the Alumni of Harvard to Commemo- rate their dead who fell in the civil war. The theatre will accommodate comfortably about one thousand persons, and is model place for large academic gatherings. Its seats rise with rapid ascent t. the rafters, affording every spectator clear view of the stage, and
 
 similitude of the Athenian anphitheatre. The walls are finished with massive work in oak or chestnut, and grace, solidity and comfort are expressed iD all the lines of the structure. The changes made to harmanZe the theatre to the uses of Greek tragedy are few and sim pie. In front of the stage is a semicircle of boards some three feet high marked with Greek tracery and enclosing the Thymele or Greek choral altar. The altar itself, round I,sol~t tl 4f, 1f group themselves during the play, is plain affair resembling square pillar truncated about four feet from It's base. In front of the semi circular choral fence is space for the or chestra of forty pieces and for the supplement tary chorus of about fifty singers, selected largely from musical organizations in Boston whose voices strengthen the chants of the reg ular choral band. On the stage behind, where ths play proceeds there have been erected three altars-one of which just in front of the footlights serves the prosac use of conceaipg the prompter-while behind, reaching almost to the roof of the theatre is the front of Greek palace. This piece of scenery is super bly, painted, and so far as possible with archaic exactness. Its lower part represents a solid first story entered by two folding doors through which the players living in the palace make their exits and entrances. Above this is copy of the famous Greek friezes represent ing the battle of the Amazons. Above still is a line of columns supporting the roof. On the left of the stage and some distance from it are two additional entrances, from which enter the chorus and those actors whO'are not sup posed to live in the palace. This chorus of fifteen is the most unique affair of the whole play. They represent what we may call band of ldealized spectators of the tragedy, who express in their chants the emotions and reflections which the play is supposed to sug- gest. The orchestra and double chorus are all under the leadership of Professor John K. Paine of Harvard who sits on raised seat in front. A double set of calcium lights far up under the rafters complete the stationary stage outfit.
 The cast of the performance tonight was as follows:
 Edipus, King of Thebes George Riddle, "A Jocasta. his wife l.. E. Opdycke, 89 Creon, her brother H. Norman SI Teiresas a blind seer c. Guild, '81 Priest of Zeus W. H. Manning, '82 Messengers Messrs Roberts, 8l, and Mister, 'S2 Leader ot chorus l.. $. McCagg, 84 Servant Of LaluS G. McLane, Sl
 The time of the play of "King Edipus'' is that shadowy age of mythical heroes which preccdes Greek history. The scene is at the Beotiar Thebes. Laius, King of the city, had married Jocasta who had proved childless An appel to the oracle of Apollo at Delphi brought forth the dreadful utterance that child should be born who should slay his father, wed his own mother and be loaded by by the gods with unspeakable miseries. The child is Gdipus 10 Liter hls birth to thwart thu fates is sent Y H pierced and bound feet to be exposed on Mount Cithaeron. But the shepherd to whom the child is committed gives way to pity. The babe is passed over to 2 comrad1, who in turn gives it to Polybus and Merope he childess king and queen of Cor inth. They adopt the infant and it grows to rugged manhood, taking it's name from the Greek words 0j0e0 present form of the verb ito swell" and p0us foot" n token of the condition of it's wounded feet. Years after Gdipus goes to Delpli and there learns the same terrible oracle that had frightened his real parents. Afraid to return to COrnth where his supposed parents live lest the ora cle may be fulfilled, Gdipus sets out in the opposite direction where at a spot where three ways met he encountered his real father, Laius, then on his way to Delphi. An acci dent leads to quarrel. E !ipus strikes his father dead aud the first par of the oracle Is fulfilled. Thence he he journeys to Thebes where the sphynx, horrible monster, part woman, part bird part lion, is killing all who fail to guess her riddle. Gdipus solves the riddle and as reward receives from Crcon Jocastas brother and king the hand of Jocasta
 
 to the i'll -fated pair aud both are happy and prosperous, when suddenly plague begins to devastate the city. sE
 Here the drama opens in gloom and woe. l The orchestra play an overture full of weird and melancholy strains symbolizing the desc lation in which the city is plunged. As the overture closes there are seen advancing from the right of the stage white clothed suppliants their heads bound with fllets. led by priest of Jupiter. Proceeding to an altar they place upon it olive boughs bound with tleecy wool, the symbols of their appeal to the gods. These Gdipus, coroneted and in the royal garb of purple, meets as he comes from the palace and addresses: ..-..-. -..-ea.- .s.t
 'Children, young of Cadmus' ancient fold
 Why press you to kneel beside the gate, I
 With wool-tuits each suppliant Olive-bough.
 Whilst OCT your city clouds of incense rise.
 And mingled voice of pBan and of vail 2"
 The Priest explains the reason of their sor- rowful rites, and appeals to the King, as the head of the state, for succor. He assures that, not unmindfu1 of their woes, he has sent his brother in law, Creon, to ''Apollo's Py- thian Hall." Even as he speaks Creon is des- cried coming from the Delphi on the left of the stage, crowned with full garland of thick berried bay" He brings back word that Apollo commands, as the price of relief from pestience, that the Thebans shall avenge the murder of King Lalus either by the death or exile of the slayer who is in their city. Edipus asks anew the story of the crime, and is told that ,Laius met his death by 8 band of robbers. He promises to obey the oracle, and in four lines, rendered by MT. Riddle with rare power and feeling, delivers the pledge:
 'But will track this evil to the spring
 And force it out to light. Fnll worthily ig 1a
 Doth great Apollo, worthily dost thou
 Direct this sudden effort for the dead" & t
 Gdipus, Creon and the suppliants now re tire. and the chorus of fifteen enter with measured and stately step. They are clothed in sombre garb of drab and dark yellow. and like the snppliants are bound with white fil- lets. Grouped around the altar they sing the first choral chant, their strong manly voices now rising to complication and anon sinking to. pathos as they touch upon the city's grief.