The Hawaiian gazette., 1900-07-03

dred figures, precedes the Last Supper, a
representation of the despair of Cain
ushers in the act in which Judas returns
the thirty pieces of silver and hangs him
self.
The representation lasted from a. M
till IL, and from 80 to 8 p. m. and the
absorbing interest with which it was fol-
lowed was shown by the fact that every
one was surprised when IL came. There
was no applause at the end of "A scene
though people stamped their feet 10 re-
store the circulation, for there was ~
tie chill in the air.
Two questions most generally asked are
Does not the representation of Christ ON
tile stage jar on the feelings?" and lis
not the CrucifiXion scene too trying to
look on?" To both queries the answer Is
no-to the first, unhesitatingly. This is
because of the fact that the Christ takes
little part in the action of the play eX-
cept in cleansing lne temple; for the rest
the action takes place about him while
he suffers in silence. The divinity of
Christ plays "A very small part in fact,
only appears in the healing of Malchus'
ear and in the Resurrection, which is
more n tableau tan an act.
AS regards the Cruclhxlon, it was one
of the few scenes in which the spectator
thinks of the actor rather than the act.
The physical pain endured during the
time the Christus is on the cross, about
nineteen minutes, must be very great.
The excellence of representation of the
CrucliiXion in sculpture ana painting to
which we are so accustomed tends TO rob
the scene of it's effect. The means by
which the body is fastened to the cross
are visible, but a strong glass showed
marks round the wrist, and doubtless
some form of corset Is used, but 1t IL all
hidden, even during the taking down of
the body, in which Rubens' well-known
picture Is reproduced.
Anton Lang Is the Christus, and one
cannot think 1t possible that the part
could be represented better. The divine
tenderness of expression and demeanor,
the resonant yet sympathetic voice, the
tender smile occasionally lighting up the
sorrowful countenancc fulfilled all ones
ideal of Christ as man on earth.
The part of Judas as played by Twink
was most convincing. 1t explains how
there could be Judas among the twelve,
a man whose love of money was enough
to drive him to betray his masters where
abouts, confident in tnat masters power
to release himself by n miracle II neces-
sary. When he realizes that his betray-
al means his masters death, his repent
ance Is immediate and complete.
The Peter of Thomas Rendl was most
effective. His repentance scene, so diff
ferent from JUDAS, was most moving.
Caiaphas has one of the most dramatic
parts, and Sebastian Lang filed it. 80 as
to deserve the highest praise.
If anything proves the great dramatic
power of Daisenberger, the author, 1t Is
the way his characters are differentiated
and the fulness with which they are
worked out. The PLATE of Sebastian
Bauer was not up 10 the level of those
mentioned, but SO well Is the part writ
ten that no actor could fail in making "a
mark in 1t to Il certain extent.
The womens parts are short and offer
little scope for acting. The Virgin of An
ma Hunger was sympathetic. and the
scene of her parting with her son at
Bethany vislbly affected the vast audi
ence.
The handling of the crowds was mar
vellous. OF course the huge stage as
sists in this. One thing was ineffective.
When the crowd shouts and plays the
part OF mob they do 1t In unison, all
speaking the same words. giving the eff
feet of an American college yell. OF
course this enables the peasants to I'M
derstand the words. which Is a more Inn
portant thing In the OberammeTgau mind
than mere artistic effect.
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