The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1900-07-03
AN ARMY OF S|GHT-SEERS
(continued from Page l.,

till r. and from go to p. IN. and the
absorbing interest with which it was fol-
lowed was shown by the fact that every
one was surprised when L came. There
was no applause at the end of scene
though people stamped their feet to re-
store the circulaOon, for there was 49,
tie chill in the air.
Two questions most generally asked are
Does not the representation of Christ on
the stage jar on the feelings?' and lis
not the Crucihxion scene too trying TO
look on?'' To both queries the answer is
no-to the first, unhcsitatingly. This IS
because of the fact that the Christ takes
little part in the action of the play ex-
cept in cleansing lie 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 a tableau tan an act.
As regards the Cruciiixion, 1t was one
of the few scenes N 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
Crucifxion in sculpture and painting to
which we are so accustomed tends TO rob
the scene of its effect. tne means by
which the body is fastened to the cross
are visible, but a strong glass showed
marks round the wrist, and sdoubtless
some form OF corset is used, but IT is all
hidden, even during the taking down OF
the body, i'm 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
u -
! tender smile occasionally lighting up tbs
sorrowful countenance fulfilled all one;
\ ideal of Christ as man on earth.
/ The part of Judas as piayeu by Zwinl
/ 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 mat masters powe
! TO release himself by miracle If 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 mos
| effective. His repentance scene, so diff
/ ferent from Judas, was most moving
Caiaphas has one of the most dramati
parts. and Sebastian Lang filed it so a
to deserve the highest praise.
II anything proves the great dramati
power OF Daisenberger, the author, IT i
the way his characters are differentiate
Z
and the fulness with which they ar
worked out. The PLATE of Sebastia
Bauer was not up to the level of thos
mentioned, but so well is the part writ
ten that no actor could fail in making
mark in il to a certain extent.
The women's parts are short and offe
little scope for acting. The Virgin of Al
ma Hunger was sympathetic, and u
scene of her parting with her son
Bethany visibly affected the vast aud
ence.
The handling OF the crowds was ma
vellous. OF course the huge stage a
sists in this. One thing was ineffective
When the crowd shouts and plays Il
part of "A mob they do ii in unison. q
speaking the same words, giving the e
feet of an American college yell.
course this enables the peasants to vi
derstand the words which is more in
portant thing in the Oberammergau min
than mere artistic effect.