The Intermountain Catholic. (Salt Lake City [Utah] ;) 1899-1920, 1910-06-18

lected to play the part of Christus.
Since 1850 the character of Christus has been
played by four persons: by Flunger in 1850, by
Schauer in 1860, by Mayr in 1870, 1880, and $780,
and by Lang in 1900. When it was announced
that Josef Mayr would not be the Christus of last
year it was thought that the play would fall flat
that it would be the play of Hamlet" with Hamlet
left out. Not so, however. To me Lang
ideal Christus Judged by his physique and tenn
permanent he seemed far better fitted for the part
than Mayr.
When Mayr is majestic and regal q am judg-
ing him by his appearance in the recital of the
prologue) Lang is the embodiement of genteness
and humility But this humility is never lacking
in dignity. There is indescribable sweetness and
patience in his bearing, but evidence of weak
ness or servility.
Mayr is dark, with eyes which would be likely
to blaze under provocation, although there is
deep sadness in them. Lang, on the contrary, is
fair, with blue eyes which express very perfectly
the yearning compassion of Christ His hair is
beautiful, and falls about his face in soft waves
of brown. Truly he well represents our idea of
the Man of Sorrows
The greatest actor in the Passion Play is I'M
questionably Johann Twink, who impersonates the
character of Judas Twink is born actor. His
dramatic capabilities are really wonderfully.
In 1870 and 1880 Twink played the part of the
Apostle John. Of course there is great scope for
Passion Play what Iago is to Othello, the real cen
trail character which touches the play into move
ment and plots and plans that which finally leads
up to the catastrophe. The whole scene where Ju-
das is plotting with the Sanhedrim to betray his
Master is dramatic triumph for Twink. "Come
Judas" says the Rabbi, stake the thirty pieces of
silver and play the mani" But it is when remorse
sets in for his deed that Twink in the character of
Judas is greatest. Terrible indeed is that solilo-
guy of Judas in the woods which ends with the
words:
"Here shall end this cursed life On this tree
shall 1 hang this disastrous fruit. Ha! Come,
thou serpent, entwine my neck and strangle the
betrayerw
The character of Mary, the Mother of Christ,
was taken by Anna Flunger, an amiable, modest,
and beautiful girl of nineteen years of age 1t was
very creditably sustained. This year the role of
Mary is taken by the daughter of Johann Twink.
With this exception the cast of characters is, [
believe the same as that of 1900. Peter Rendl
made capital st. John, the beloved disciple, while
two other important parts, those of Mary Magda
lene and Plate, received excellent Interpretation
at the hands of Bertha Wolf and Sebastian Bauer.
Who, you ask, to be found at the Passion
Playa The world is there in samples. 1t is the
most cosmopolitan corner of Europe There you
will find every rank of society from artisan to
artist, from peasant to crowned head. For in
stance, there attended in 1910 the King and Queen
of Saxony in 1860, King Maxmilia II, of Ba-
varia; in 1870, King Ludwig II, of Bavaria; in
1880, Frederick, the late German Emperor; in
1890, Queen Isabella of Spain, and in 1900, the
very day I witness the Passion Play, Russian
prince occupied box. The smallest number of
visitors come from Italy and Russia.
The play begins at eight o'clock in the morn
ing, and lasts till five in the afternoon, with
interval of an hour and half for lunch Early
in the morning there is special mass in the
church, which the players well as many of the
villagers attend. Indeed from a. m. to p m.
is being celebrated continuously at one or
more of the five affairs in the pretty and artistic
parish church. Formerly, when the seats in the
theatre were not numbered, when first come, first
served, the order of the day, the people, clam
orng for seat of vantage in the theatre, and the
church consequently largely deserted. There
is no need of this condition of things now. There
are many entrances to the theatre that few
miutes will seat the entire audience of four or
five thousand people. Every man or woman with
a kodak is stopped at the door, as no snapshots
are allowed.
Amid breathless stiffness, slowly but gracefully
the member of the chorus, with the reciter of the
prologue, step to the front of the stage Blending
with the music of the orchestra, the chorus pre-
pares the audience for the opening act
There in all seventeen acts in the Passion
Play, and each act is preceded by tableau based
upon soue scelle III the via Testament preIlgurlng
some one of the scenes to be enacted in the Pas
sion of our Lord. The tableaux are, beyond ques-
ton very fine.
The Passion Play is divided into three parts,
the first extending from the entry of Christ into
Jerusalem to His apprehension in the garden of
Gethsemane-in all seven acts; the second from
the scene representing Christ before Annas to the
scene representing Plate condemning Christ to be
crucified, act to act fifteen; and the third
and final from Pilates condemn IN fha
representing Christ's Resurrection from the tomb
The opening tableau represents the expulsion
of Adam and Eve from the Garden of Paradise
which prefigures Christ's driving out the money
changers from the Temple. The tableau repre-
senting Joseph sold by his brethren prefigures
Judas betrayal of his Master for thirty pieces of
silver. Perhaps one of the finest tableaux was
the Fall of Mamma which prefigures the Last Sup
per, One of the saddest scenes in the play is that