New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-08-05

boring hill, the chorus comes In two solemn files.
which meet in the middle of the stage and
reach in a single line clear across it, The men
and women wear robes of different colors all
embroidered with gold. and each of them has
a Those who have seen the play in
other years recognize in the middle of the line
the tall fine form of Josef Mayr the Christ OF
ten twenty and thirty years ago. He is the
prologue now.
The leader of the chorus procIaims the sub
ject of the play Gods forgiveness of sin through
the blood Of His Son. Then two preliminary
tableaus are shown. The curtains of the temple
front are drawn aside to reveal the first the
expulsion of Adam and Eve from Eden while
the chorus divides and stands on either side of
the stage. The chorus sings explaining the
tableau. and the curtains are drawn again.
Now Mayr speaks for the first time He well
comes the people and bids them be united in
brothers love the disciples of the Lord.
The second tableau is shown. 1t represents
the alteration of the cross. typifying the sal
walton of man, the former one typihed his
fall. The chorus sings again and departs and
then the real play begins.
The curtains open again, and from the back
of the stage in the middle and at both sides,
a dense crowd comes slowly pouring down
toward the front. The people singing and
waving palm branches. Finally the
apostles and the Christ Himself Not word
Is spoken yet. The curtains are closed again
and opened in a moment to reveal the temple
with the sellers of lambs and doves and the
money changers. Jesus enters, denOunces them
overturns the tables and sets free the doves
which fly away. 1t is this act which rouses the
merchants to appeal to the Sanhedrim against
Him, and forms the first of the steps which Gull
inmate in the tragedy.
So the play is begun. It would be impossible
to trace the whole of 1T in the space of a letter
Another tableau comes next. showing the sons
of Jacob conspiring against Joseph. This is
supposed to prefgure the debate in the San
hedrim by which it is determined that the new
prophet must die. Each act of the play with
or two exceptions has it's Introductory
tableau, drawn from the Old Testament, and
prehguring the incident of the story of the
Passion which is to follow. At the beginning
of each act too the prologue and the chorus
reappear, to explain the tableau and it's refer
to the act.
A beautiful and affecting scene is the parting
of Jesus from His mother and His friends at
Bethany. Much of its beauty comes from the
unaffected simplicity with which 1t is acted
simplicity which pertains also to the whole of
the Passion Play and makes 1t a grand and
impressive spectacle, instead of. an offence. 1t
is while Jesus and the disciples are sitting at
the table in the house of Simon that Mary
Magdalen pours the ointment His head ant
Judas complains of the waste. 1t is this which
puts the thought into his mind of parting from
the Master, and while this is only a half formed
purpose, he is approached by the agents of
the Sanhedrlm, and by them he is hurried on
toward his act of betrayal. One Of the memo
rable scenes is that of the Last Supper. Little
is said, but much is done-the washing of the
feet of the disciples. the breaking of the bread,
the drinking of the wine. Then there Is
other solemn and beautiful scene in the Garden
of Gethsemane, and the morning performance
ends with the betrayal
THE TRIAL OF JESUS.
The audience is sent away to rest and refresh
itself. In an hour and half it comes back to
see the end. The trials of the Christ begin. He
is brought before Annas, before Caiaphas. be-
fore Herod and three times before PLATE. The
Lnwillingness of PLATE to condemn Him to
death is insisted upon beyond the requirements
of mere conformity with the Gospel story Not
till he has tried every means of saving His life
does PLATE wash his hands. break his staff and
give the priests and the people their way. in
the mean time the repentance of Judas is shown
in the most vivid and moving manner.
And so the scenes lead up to the great climax
of the crucifXiOn. 1t is this that tries the
nerves of those who have nerves of the sort to
be tried. Every cruel incident Of the death of
the Lord Is performed with Photographic fdel-
ity, except the driving of the nails, and that is
heard before the curtain rises. There is no
effort artistic effect 1t is all relentless real
ism. Realism in the drama may be right or
wrong, good bad art; this play has nothing
to do with art The harsh realism reaches its
height when the Saviour's side is pierced and
the blood flows out. And then comes of