The morning news. [volume] (Savannah, Ga.) 1887-1900, 1899-12-17


bassam filled the air. The day was warta
/ and bright and not a cloud marrlng the
deep azure Of the heavens 1t seemed as II
nature smiled on the scene.
The programme Father ChirOuse had
! arranged consisted of an open air mass
to he followed by nine tableauX: One. the
prayer in the garden two, Christ before
Plate; three, the Scourging: four, The
J Growing of Thorns; FIVE Carrying Of the
Gross; six, Meeting Of Christ and His
Mother; seven. Presenting Christ with a
Trowel; eight the Crucihction, and nine.
At the Foot of the Cross.
Each scene was 70 be in the form OF a
paniomime, rome of the characters speak
ing word. The allotted time was five
minutes TO each tableau wi h an interval
of two or three minutes. There was no ar
fanSement of curtains, no siding scenes.
no artificial effects. Meme were needed. in
deed. The performance carried a solem-
nity and imDressiveness rot found in the
theater.
"A 10 o'clock the hour set for the FIRST
tableau an audience of fu ~ five thousand
people had gathered. and the space AZ ound
the platform was packed. Father Chlrouse
with his clerical assistants aci ed as man
ager, directors ana stage hands ard the
opening scene took shape before the spec
tators.
IL represented the Savior in the Garden
Of Gethsemane accompanied by Peter and
James and John to pray. The latter parts
were taken by three Indian youihs clad
in roughly made costumes, tut the char
acter of the Savior was typided by a man
of rather noble features and shapely ply
sique. He was dressed with simpe TASTE
and wore a carefully made beard. His
air was one of humility ard II was pain
TO be seen that the importance and sacred
ness of his part had impressed him.
Great Eject Produced.
The platform had been set with n few
boxed trees and covered with fresh grass
The three youths took their places at one
end, reclining as II asleep. The Indian
representing the Saviour knelt in the CEN
ter with his hands clasped and his face
uplifted to the blue sky above.
A low murmur came from the Indians
in the audience, and a woman broke into
historical wailing. 1t was evident the
scene appealed strongly TO them.
'Ne-si-ka papa klaX-to mit-lite ko-pa
sa hale" Our Father which art in Heav-
END cried one of the spectators, bowling his
head.
In the background partially hidden by
the platform Father Chirouse and his aids
were preparing the next tableau. An as
sistant in the audience began to chant a
passion hymn, and while the information
swelled into a resounding chorus the scene
was changed.
Plate in flowing robes, his face rather
benign than stern, was seated upon an
improvised throne. A crown and breast
plate indicated his high office Before
him stood Christ bowling as If in token of
obedience. In the rear were Jews and sob
diers. some of the former evidently clamor-
ing for Pilates decision A low ripple of
applause came from the audience and
then came another change.
This time it was the familiar scene of
t.l.
ed with gloomy air while two of the Ro-
man soldiers held their scourges over the
bowed form of the Indian representing the
Christ To give added truth to the lesson,
several red lines had been drawn upon
the exposed back, and a number of the
disciples Frustrated themselves as if in an
agony of grief.
Quickly following this without change
of setting came the browning of thorns
which represented the fourth tableau.
Then the scene was changed to represent
the procession of Golgotha. 1t was before
that point where the cross was given over
to Simon and the heavy burden rested up
on the shoulders of the pseudo Savior who
apparently staggered under the load
BY this time the emotions of the vast
audience had reached a high pitch. Sew
eral of the priests were chanting loudly;
the majority of the Indian women and
some of the old men were crying and
wringing their hands. on the outskirts
native dogs had begun to bark, the whole
creating a pandemonium which Father
Chrouse FASTENED to check before pro-
ceeding with the sixth tableau. This he
did by starting hymn.
The Final TabIeaux.
The sixth and seventh tableaux, the
meeting between Christ and Mary and
the presentation of the trowel before the
cross We're given to the apparent satisfac-
ton of the spectators. Then came the
most important scene-the crucihxon.
Until now the character of the Savior
had been taken by an Indian, but it
soon became evident that the two last
scenes would be given with wooden i'm
age of Christ. The Indian descended from
the stage 'and removing the tawny beard
and wig, secured point of vantage from
which he could witness the remaining
tableaux.
Father Chirouse and his assistants pro-
duced from behind the platform lfe-sze
figure of Christ. This they fastened TO the
cross and reverently raised il while the
male choir chanted a hymn The soldiers
and the multitude as represented by the
group OF Indians on the platform assumed