Abilene weekly reflector. [volume] (Abilene, Kan.) 1888-1935, 1910-11-03
By w. J. MEEK
of Hope.
IHE PASSION PLAY

the middle Is q real stage with cur
,o,ns where the tableaux and house {
scenes are given.
Each scene Of the Passion Play
consists of two parts. First the chor-
ia Of forty members appears. the
members are beautifully dressed III
f,owing robes of many colors. They
sing and recite the trials that must
be undergone by the Christ 10 IL
,ustrate this more completely the
curtain rises in the center and pre-
cents in tableau some old testament
scene which illustrates the point IN
question. Thus the betrayal OF
Christ is forshadowed by tableau
showing the sons of Jacob selling
their brother Joseph for twenty
pieces of silver. The chorus and tad
leaux thus outline the play which Is
tn follow. The second part OF the
scene consists in real action.
The music and tableaux are among
4 the most beautiful parts OF the play
Some times as many as 600 appear
in a tableaux. One of the most beau
tiful shows the giving OF mama 10
the children Of Israel in the wider
ness. Hundreds of people are on the
stage: old men, old women, Dapes
in arms; all in action, yet motionless'
Some are praying, some gathering
1.-THE mama which is falling from hea-
, ven like snow. The wealth of color
ing and the beautiful poses are be-
: yond description.
J The action or story part OF the
NAV follows quite closely the New
g Testament version. More sympathy
: ia shown Judas, however, than we
: usually grant him. The parts OF
( Mary Magdalene and Lazarus are
a also made prominent.
e The two great roles are OF course
+ those of the Christ and Judas, Anton
y Lang. who plays the former Is not a
e great actor, but he looks the part OF
e the Christ to perfection. In fac'
r, the first sight of him ssartles one
40 much does he resemble the usua
l. artists conception of the Savious
1, Anton Lang is a kindly devout mel
r. and all who have met him feel tina
K no sacrilege is committed BY his por
trayal.
Or Johann twink, a dark, tai sann
e. man with a shocky head OF hair play
r the part of Judas. He is an accom-
ne plished actor and no one can see nj
lie portrayal without feeling OF pit
It's for the poor misguided disciple IL
be das remorse when he fully realize
pc the enormity of his offense is indee
n a fine bit of acting.
he II is needless here to give In deta
IS the story as depicted in the Passio
I'd play. The action begins with Christ
he triumphal entry In Jerusalem. Tn
he buyers and sellers are next drive
he from the temple and in this event
as found the motive for the rest OF tn
cir play. The merchants who have bee
flogged out Of the temple by the al
rst CRY Christ, vow revenge. The Sal
nd hedrim Joints forces in the plot u
lgs das is found to be a willing tool. tt
or betrayal, trial, condemnation an
err crucifixion follow in rapid succession
ng The play closes with the resurrectio
ng and tableaux showing the Chri
M rising to heaven In clouds of glor
The Roman soldiers, the hoary ra
re- hi, and hundreds Of men, women an
os- children in oriental costumes all rel
rts der the scenes unspeakably real. Tn
he, tragedy which SO transformed Il
rt- world is no longer a misty story
in the past. Each individual of tho
ces hundreds lives and breathes befo
tee you. The Christ Is now flesh al
Ing blood. His human side overpowe
in you. He blanches with pain al
airy blood flows from the cruel mar
be made by the scourge and crown
the thorns. And yet you hear him ga
ear Forgive them, they know not VIII
ak they do" Your heart feels cramp'
len. at sight Of 1t, but as never before
be- all your life there rushes over y
ing some conception Of what is meant
Inal christ-like self control. consecrati
The and love,
Ibor OF all the beautiful and vari
scenes from Christ's life none "
ZACH remain longer with US that that
to the Last Supper. 1t was a livi
ears copy Of the great painting by LeS
'gau ardo de Vincl. The apostles w
vore indeed q noble band Of men, a
this these living representatives vi
than carefully chosen on account Of tn
tive physical fitness for the part assign
the -Four Of the faces one can never {
-. III. @