Arizona republican., 1910-10-29
HOME OF THE PASSION PLAY
tcontinued From Page one.)


 chorus sings. These tableaux are re- selves, to show the old testament prophecy and the new testament full fillment; so when the chorus has sung, in German, a few explanatory stanzas they fall back gracefully to the right and left and the curtain rises on the tableau which typifies the act that follows. The first tab leau represented the expulsion of Adam and Eve from the garden of Eden. the angel with flaming sword guarding the gate while Adam and Eve, dressed in skins. are grouped in a natural way. The tableau of the miraculous fall of mama in the wilderness precedes the scene of the Last Supper. The representation of the despair of Cain over the murder of Ahel typifies the act where Judas in his remorse takes his own life. The scene of Tobias taking leave of his parents represents Christ's de- parture from Bethany. Adam and Eve earning their bread by the sweat of their brows foreshadows Christ's anguish in Gethsemane Isaac bear Ing the altar wood up Mount Moriah is emblematic of Jesus bearing his cross to Calvary. The tableau of Joseph sold into captivity by his brethren is symbolic of Jesus betray- ed for thirty pieces of silver.
 One marvels at some of these scenes, first at the number of those taking part-frequently three or four hundred-secOndly for the beauty of the grouping and wonderful repose, even tiny children in their mothers arms not moving a muscle for fully three minutes between the rise and fall of the curtain. Also at the rapidity with which the groups are formed, not sound being heard. Each one must go to his place like machinery or how could these pie lures be so rapidly formed, when one half the population of the village is on the stage.
 The first act is Christ's triumphal entry into Jerusalem. The air is rent with shouts and we see the streets of Jerusalem with a vast multitude of men. women and children, advanc- ing, waving palm branches, shouting "Hosapna :" One can imagine how thrilling it is to see five or six hun dred people in rich costumes singing and shouting under the open sky It seemed as if one were witnessing an actual procession in the Holy City All eyes were looking for the central figure. He comes on the scene with no suggestion of irreverence. but his every appearance was marked with dignity. We are told that for nine years his life must at least be out wardly blameless if he is to be all lowed to take the part No one can fail to be impressed with the silent Saviour as he again and again ap- pears on the scene. There are so many opportunities to overact or rant or in some way spoil the whole effect that it seems perfectly won derful that in no instance is any such mistake made. The only occur renee of the kind was the applause by some of the audience at the end of the play which is especially dis liked by those taking part. Judas is the comedian of the village. but nev- CT once does he give a hint of it in the play. The introduction of Judas, which part is played with tragic and great dramatic force by Johann Zwink, occurs when Mary Magdalen pours the precious ointment on the feet of Christ, when his greed and selfishness protest against the waste. One of the most touching scenes was the parting at Bethany between (Ehf-iGf n6 hiS ac if there were few fearless eyes in the audience.
 The Lords Supper was introduced by the falling mama in the wild erness. Moses and Aaron were cen tral figures, while grouped around them were 45O other persons, one third of them being children. Every hand is stretched out towards the mamma that falls like snow, and yet not a movement of a muscle is per ceptible. The grouping of the Master and the disciples is a reproduction of Leonardo da Vinci's well known painting, the same rich coloring, John leaning on the Saviour's breast, Peter nearby, Judas wild and fierce, show ing iu every look his guilty con- science. The washing of the dis ciples' feet was done with imimitable dignity. the Master rising and pass ing from one to the other with a most beautiful expression of re- proachful love, setting an example of The whole scene was so and the words of farewell so sad and that the silence of the audience semed almost painful in it's The climax came with the words ''Verily I say unto you, that one of you shall betray me"
 This scene is followed by the one in the hall of the Canhedrin. Caiaphus is attired in long white robe with silver fringe, on his breast gleam the twelve jewels representing the twelve tribes of Israel Judas appears and gives a wonderful piece of acting as he stands in the center of the stage listening to the words of the council and struggling with his feelings, his face portraying every emotion. They finally persuade him that his Master would only be i'm prisoned for his extreme teachings and the sight of the money decides him. He clutches the silver, tests each piece with his teeth. then sweeps it eagerly into the bag.
 The following scene is the Garden of one of the most sorrow full of all scenes. Three times He re-