The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1883-04-02
THE PASSION PLAY.
Salmi Morse FINALLY Triumphant in Secur-
ing Its Production.


Salmi Morse was in his glory last night
Before O'Clock his Jerusalem Temple, in
Twenty-third street, was packed with people,
and his Passion Play, which he regards as
the great American moral persuader, was
produced. The scenes around the entrances
were tumultuous, and hundreds of persons
were unable to get near the doors. Those
who had received cards of invitation to the
previous performance, which was interrupted
by the sudden appearance of the police upon
the scene presented them again last night
This fact probably accounted for the i'm
mense crowd who could not get in. The
seats were nearly all occupied when carriages
began to arrive with the swell people from
the avenues. A few of them managed TO find
entrance, but the greater number went home
in disgust. The audience was of very
mixed character. Jews predominated, and
there was a large sprinkling of actors, play
wrights, journalits, civil and police justices,
with strong delegations from the offices of
the district attorney and the corporation
counsel. The audience was orderly, atten-
tive and interested throughout. When the
curtain went up every body gazed with inter
est on the golden bnlls, heifers, and other
glittering animals lying around loose on the
stage. The ladies craned their necks at the
professions of Israelites who filed into the
temple. "Them holy heifers are works of
art" said an enthusiastic usher, as he showed
an alderman to the center aisle. AS the cur
tain fell at the close of the first act express
sons of approval were heard in all direc-
tons. "Its d-n fine play" exclaimed an
admirer rs he wiped his brow.
The second act, which is very short, repre-
sents the flight through the wilderness and
the massacre of the innocents The next act
80 1ai1 in no ala Of Soil
her mother express their hatred of John the
Baptist and, inspired by her mother, Salome,
after dances before Herod and being prom
ised whatever she should ask. demands the
head of John the Baptist. This request the
King reluctantly granted. After the execu-
ton word is brought of the defeat of Herod's
armies by Aretes and Herod excams THE
retrbution of God is the first fruit of this
foul murder" There were three remaining
acts, which were entitled respectively "Ry
the Brook of Kedron" THE Gabatha; or,
Before PLATE" and sit is Finished In all
of these the personator of Christ appears
upon the stage and does nearly all the talk
ing. The audience preserved a respectful
silence throughout the latter part of the en-
tertainment. The person who takes this
character was dressed in a simple robe of
white. His face and bearing were dignified,
and his yellow beard, his flowing hair and
pale. regular features, were exceedingly sug-
gestive of Leonardo di Vinci's painting of
Christ.
The scene dealing with the death of John
the Baptist is far the strongest episode. and
it was by all odds the success of the night,
The acting of the Herod was excellent, while
Herodias and Saome were both good The
act was thoroughly cimactic, and the burst
of approval which answered the messenger of
retribution who announces the defeat of the
Tetrarch's army was spontaneous, forcible
and thoroughly well deserved. The fifth act,
represents the trial of Christ 1T is
finished" appears on the programme as a
final act. 1t is, in fact atableau vivant. rem
dered half invisible through an ill-designed
gauze curtain and bad management of lights.
1t is accompanied by a protracted musical"
composition, which is intended, it is said to
embody the whole story of the Passion. To
last nights audience it was simply enigmat-
ical, and most of those who stayed to hear it
spent their time in wondering whether the
singers and the orchestra would ever be
able to find again. the key on which they
started, or any other on which they would
agree.
The performance was not finished until
nearly midnight, when further marks OF
favor were bestowed by the spectators
Mr.. Fred Lyster, who organized the first
Australian grand opera company, led the or
chestra. The music is of an entirely original
and unconventional character intended to
revive the ancient melodies. 1t opens with
an ancient choral; 20, haupt roll, lut und
wunden." which is the same choral John Sc
bastian Bach introduced in his music. and
which is supposed to be composed by Schultz
in early times. The prelude is fugue move
ment of the subject of the choral. The cur
tain rises to a choral of women and priests,
which is composed after the style of Chaldean
musicians, as is also thes choral of Levites
which follows Up TO the recognizing of the
divine book the music is of the Syriac order.
After that it rartakes of the early Christian
adaptation. The choral "Alleluia" and the
"Gloria in Excelsis" complete the act The
"We'll wrap him in linen of delicate fold"
and solo, quartet and chorus ends with the
play The music was written by Oscar Wiel
classmate of Arthur Sullivan at Liepsic
He was the favorite pupil of Richter and
Reidicl1e in counterpoint and composition.
He came to America at the outbreak of the