Evening star. [volume] (Washington, D.C.) 1854-1972, 1899-12-16
TOLD IN PANTOMIME
The Passion Play as Presented by the
Siwash Indians.
FIRST PRODUCED TEN YEARS AGO
As an Object Lesson in the Work
of a Missionary.
So GEES WAS COMPLETE

Written for The Evening Star.
imagine Indians, raw, uncouth American
Indians, performing the Passion Play Pic
ture to your mind. if you can, the solemn
scenes of Christ's passion presented in
pantomime by ordinary redskins, and that
too, for the purpose of impressing the
truths of Christianity more deeply upon
their fellows.
Yet this idea was actually conceived by a
missionary to the Siwash tribe in British Co
lumbla few years ago, and what is more,
was actually carried out with great effect
rather Chirouse was the man who did it,
and the play made such a success in 1889,
that preparations are Under way to repeat
it
When the priest, who is French Cana
dian and Roman Catholic. took up his
work among the Siwash tribes he found
them sorely in need of light. He labored
early and late in the little chapels or the
dingy, weather-stained tents which served
Tor chapels, and after a time he found that
his efforts were not bearing fruit of much
promise.
1t was comparatively easy to teach the
Indians the verbal word of God but when
it came to an understanding of the real
meaning of Christianity there failure.
1t seemed as if the wonderful story of the
Passion could not be brought clearly to
them. In their own folk lore they had
many parallels, many weird stories of
strange doings, and it was not long until
Father Chirouse began to see that the
suffering and death of the Saviour was to
them merely tale, possibly told TO illus
trate a point.
Day after day he went among them en-
deaVoring to impress the living truth upon
their minds. He had had success in chang
ing their moral views and had made of
them moral men and women as Indians go$
but he was not satisfied. There came TO
him In time what the good father consid-
y..1 i,~r-y, ;,~a-f hon
thought that bore happy fruit. and per
haps the father right in placing its
source where he did.
How the Inspiration Came.
One Sunday after morning mass, which
was held in a small settlement named Sea-
chel, the priest entered into conversation
with an old Siwash somewhat renowned as
a medicine man. The language used was
the Chinook, that universal tongue Of the
Indians and whites in the northwest.
Ever mindful. of his absorbing ambition
in life, the teaching of the Saviour's pas
sion. Father Chirouse repeated the OLD, old
story to his companion, describing in de-
tail the career Of Christ and his ultimate
crucifixion. When he had finally ended he
glanced iuquiringly at the aged Indian.
'Sah-a-le Ty-ee kosche Jesus good,
replied the Indian, rather indiffcrently.
But you believe that He suffered and
died for our sns?' persisted Father Chi
rouse.
Inc SlWaSn thought dN me- tiitIi, with
an inscrutable smile, he answered:
''See-ow-ist, Pah-pah Il have eyes,
father
Yes
NO man-ich Cbut I did not see that"
''Hy SON my son, how could you see it?''
exclaimed the priest, fairly exasperated.
1T happened almost nineteen centuries
ago
Then he went away to think Within
three DAYS a perfected plan rested in the
brain of Father Chirouse. 1t was the plan
of a play to De enacted by Indians for IN
dams a play with living actors and with
scenes typifying the Passion of Christ.
He sought aid in prayer, and for three
days and three nights invoked Divine as
sistance neither sleeping nor eating during
that period. Then after resting while he
began his task with confidence. His first
duty was to select the actors. In the cast,
if it might ne so termed, he needed at least
a score. Besides the Savior there were the
disciples. Mary. PLATE, the guards and
Others 1t was necessary not only to train
Indians to take the parts, but what was
almost as difficult, Father Chirouse had TO
find the costumes.
These had to be made in the village, and
by persons who did not know a tunic from
a toga. Spears, uniforms. helmets. girdles
and other paraphernalia We're required to-
gether with cross, stage and divers sets
of scenery.
At first there was some jealousy. Those
given the minor casts were piqued because
they had not been requested to take the
more important, ana those VINO Nau Deen
left out entirely were inclined to find fault.
Father Chirouse exercised diplomacy how
ever, and at the end of three weeks every
thing was ir readiness for what in another
walk of life would be termed dress re-
hearsal.
The Program.
The first performance was to be held in
Seachel. the date given out being June .,
1889. The news had travelled far and wide,
and for several days before the specified
time the roads and trails leading to Seachel
were thronged with both Indians and
whites. Visitors came from Vancouver and
New Westminster and from other places on
the Canadian Pacific railway. All the
clergy in that section of British Columbia
found mean; to rendezvous in the little ma
tive hamlet, and by the Sth of June the
place had assumed the appearance of a
booming city.
The morning of the 9th found a stage or
platform erected on the bank of the river
which flowed past Seachel. 1t was an Or
binary wooden affair in Its primary con-
struction. but the deft hands Of the Indian
maidens had hidden the rough planks be-
meath wealth of green foliage and beau
tiful flowers.
On all sides were strewn pine boughs and
cones. and the halmy fragrance of balsam
filled the air. The day was warm and
bright and not cloud marring the deep
azure of the heavens. 1t seemed as If ma
ture smiled the scene.
The program Father Chirouse had ar
ranged consisted of an open-air mass to
be followed by nine tableaux. These were.
l. The prayer in the garden. q Christ be-
fore PLATE. 3. The scourging. 4. The
browning of thorns. 3. Carrying of the
cross. @. Meeting of Christ and His
mother. I. Presenting Christ with a towel.
s. The crucifxion, and 9. at the foot of the
cross.
Each scene was to be in the form Of
pantomime, none of the characters speak
ing word. The allotted time was five min
utes to each tabieau, with an interval of
two or three minutes. There was no ar
rangement of curtains, no sliding scenes
no artificial effects. None were needed. in
deed. The performance carried a solemnity
and fmpressiveness not found in the thea
ter.