Evening star. [volume] (Washington, D.C.) 1854-1972, 1899-12-16

tableau. an audience of fully five thousand
people mad gathered, and the space around
the platform was packed. Father Chrouse,
with his clerical assistants. acted as man
ager, directors and stage hands, and the
opening scene took shape before the spec
tators
1t represented the Savior in the Garden of
Gethsemane, accompanied by Peter and
James ana John to pray The latter parts
We're taken by three Indian youths, clad in
roughly made costumes but the character
OF the savior was typified by man of
rather noble features and stately physique.
ne was dressed with simple taste and
wore a carefully made beard His air was
one OF humility, and it plain to be seen
mat the Importance and sacredness of his
part had impressed him.
Great Effect Produced.
The platform had been set with a few
boxed trees and covered with fresh grass
The three youths took their places at one
end, reclining as if asleep The Indian rep
resenting the Savior knelt in the center,
with his hands clasped and his face uplifted
to the blue sky above
n low murmur came from the Indians in
the audience, and a woman broke into hys-
terical waling. 1t was evident the scene
appealed strongly to them
Ne-sl-ka papa klax-to mit-lte kopa
sa-haie' (Our Father which art in heaven)
cried one of the spectators, bowling mis-
In the background partially hidden nv
the platform. Father Chirouse and his aids
We're preparing the next tableau. An as
slstaht IN the audience began to chant a
passion hymn, and while the intonaton
s"eIled INTO 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
oreastplate indicated his high office Be
fore him stood Christ. bowling as If in
token or obedience. In the rear We're Jews
ana soldiers, some of the former evidently
ciamorlng for Pilates decision. A low rip
pie OF applause came from the audience
ana then came another change
rms time it was the familiar scene of the
Scourglng. Plate stood up and watched
WITH gloomy air while two of the Roman
soidlers held their scourgeS over the bowed
form of the Indian representing the Christ
10 give added truth to the lesson. several
red lines had been drawn upon the exposed
pack, ana a number of the disciples pros
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 process
SION to Golgotha. 1t was before that point
where the cross was given over to Simon
ana the heavy burden rested upon the
shoulders of the pseudo Savior. who appa-
Fentty staggered under the load
By this time the emotions of the vast
audience had reached high pitch Several
OF the priests We're chanting loudly; the
majority of the Indian women and some Of
the old men We're crying and Wringine their
hands. ia
The Final TabIeaux.sa
The sixth and seventh tableaux, the
meeting between Christ and Mary, and the
presentation Of the towel before the cross
We're given to the apparent satisfaction of
the spectators. Then came the most i'm
pOrtant Scene-the crlcifyion
Until now the character of the Savior had
been taken by an Indian. but it soon be-
came evident that the two last scenes
would be given with a wooden image of
Christ. The Indian descended from the
stage ands removing the tawny beard and
Wig secured a point of vantage from which
he could witness the remaining tableaux.
Rather chrouse and his assistants pro-
duced from behind the platform a life-sized
inquire of Christ. This they fastened to the
cross and reverentIy raised it. while the
male choir chanted a hymn. The soldiers
and the multitude as represented by the
group of Indians on the platform assumed
their respective positions. Finally the young
lndlan woman, who, draped in white and
with long flowing hair. had been acting the
part OF Mary knelt a the foot of the cross
and clasped the wood with her arms Thus
she remained while the two Romans, one
with the spear and the other with the reed
bearing the sponge soaked in vinegar stood
one each side
1t was a good climax. The choir chanted
brokenly, the vast audience moved rest
leSSly, and a hubbub Of groans and a great
Wailing broke the quiet
AS If to impress the scene even more
strongly upon the Indians. Father Chirouse
mounted the platform and in ringing tones
repeated the story of the Passion Then
at a sign from him, the greater part of
the actors withdrew, leaving Mary at the
root of the cross and several soldiers stand
ing on guard. This was the ninth and last