The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-05-04
Persecution of Early Christians in Rome
Portrayed in Constantine
By Walter Anthony

From the senior dramatic society of
Santa Clara college have come many
noted men who have taken their
place in the big worlds activities.
some have been men of letters, some
dramatists. artists and members of
the various professions. We look rea-
sonably to Santa Clara college for
great things and are seldom disap-
pointed. The drama in its higher and
more serious phases has been cult
waited with fine success by that insti-
tuition. and the yearly presentation of
religious plays from the pens of mem
bers of the institution is regarded as
an event of Importance outside Of the
religious impulse which such plays
engender.
Constantine" Roman drama by
Charles D. South of the class OF 1901,
was given its first production at the
college yesterday afternoon before an
audience composed mainly OF the young
women and girls from the various con-
vents around the bay. They were in
vited as guests of honor.
The first public performance Of the
work viii be given tonight at Santa
Clara.
HAS DRAMATIC CLIMAXES
The play has fine dramatic climax
points at the end Of each act and,
besides being instinct with a deep de-
votional spirit, is animated with pomp
and pageantry. marching soldiers,
scenes on the battlefield and a solemn
presentation of the horrors Of the cata-
combs Of Rome. where hid the hunted
Christians, whose lives Maxentius, the
last Of the pagan emperors Of Rome,
coveted.
The author. Charles South. A. N. is
Instructor of Roman history in the
Santa Clara college. and so he brings
TO his play the knowledge of manners
and customs which give the presenta-
ton the air of sincerity and the con-
viction OF reality The scene settings
are elaborate and would do credit to
any playhouse. The scene in the cata-
combs, for example, is wonderful in
its suggestion OF reality, and the chant
ing of the Christians, done by the
pupils Of ST. Joseph's school, under
the direction of Brother Adams. was
the final touch which rendered the
scene one of deep impression. Still an
other effective bit of realism was the
wrestling in the Coliseum scene. This
was done by Prof. Ed Sparks and Harry
A J. Mckenzie of the class of 08.
The drama is based on the story or
the flaming cross in the skies with its
motto. In hoe signo Vinces." which
beckoned in the fourth century to
Constantine. II tells of the bitter per-
secution OF the Christians in Rome
and Of the departure OF the sons of
Patriarchus TO the wars TO join the
victorious army OF him who was to
be the follower of Christ-Constantin
HORRORS OF PERSECUTION
The play shows the horrors which
followed Maxentius' persecution of the
Christians and of his plot to stop the
career of Constantine. In the fourth
act there is much of dramatic power.
In this act Constantine proclaims him
self Christian and the sky blazes with
the symbol of the faith he has en-
braced. In the third act there is pa
thos in the scene between Constantine
and his page. when the latter, asleep
and dreaming whispers of the new re-
ligion and of the glory of the belief
that fills him. The martyrdom of those
who will not forsake their faith even
though beasts rend them asunder is
wildly told.
Among those who signally succeeded
in their roles were Michael Griffith
whose Maxentius was a tyrannical and
relentless figure; Gerald P. Beaumont
whose Horatius was picturesque and
noble; Claudius, by Edmund S. Lowe,
was one Of the best of the players and