Los Angeles herald., 1910-03-15
PASSION PLAY
HAS PREMIERE
LARGE AUDIENCE ATTENDS
FIRST PERF0 0RMANCE
SPIRIT OF PRODUCTION CLOSELY
OBSERVED
Portrayal of Various Characters Well
Done, Although Poor Stage Man,
agement Mars Smoothness
of Initial Offering

"The Passion Play" a Catholic dra-
three parts, the first of which was pre-
sented at the Auditorium last night, Is
a remarkable production. The drama
tlzation, which was translated from
ancient passion plays, remodeled and
supplemented by Rev. FIR. Josaphat
Kraus, O. f. M, is interpreted in the
present instance by William Stoermer
and company, under the auspices of
the Franciscan fathers. 1t aims to in
corporate, in three parts, divided INTO
twenty-one acts, the complete history
of the Savior, as presented originally at
Oberammergau.
The first part, presented last night,
deals with the life of Christ from his
entry into Jerusalem until his betrayal
by Judas Incidental to the various
tabeaux and acts there Is appropriate
music on the pipe organ, played by j.
j. Falls, and numerous solos, lnstru-
mental and chorus renditons Whlch
greatly relieve the monotony of inter-
missions, which last night were con-
ceded to be inexeusably long. In fact,
these tedious intermissions caused the
five acts presented last night to ex-
tend considerably beyond midnight.
In the initial installment of THE
Passion Play" the management last
night evnced considerable lack or
stagecraft; there was deplorable de-
lay in scene shifting, and many EN-
barrassing breaks, as, for instance, IN
the tableaux of the return of the
Prodigal Son, when the audience was
permitted to see behind the scenes,
where stage hands and topsy- -turVy
scenery were much in evidence. Again
in several instances the tableaux were
presented on only one-half of the
stage, right or left, and only partially
visible to the audience on the opposite
side of the house. because of the CEN
ter-parting curtains, which were poor
1y manipulated.
But the acting of THE Passion
Play" especially in the rendition OF
the difficult role of the Christus, IN
terpreted by William Stoermer. was
good. To interpret this sacred role
without offending Christian ears Is a
task which few men would under
take. Every glance, every word, every
accent and intonation, must be care
fully considered. And Stoermer played
his part we'll. The audience was COM
posed largely of Catholics; yet despite
the admonition on the program that
owing to the sacred nature of the play
patrons were requested not to applaud
there was much audible approval.
The stage settings are beautiful The
electrical effects, especially in the
first three tableauX, are magnificent.
The prologue scene of Calvary is one
of the most impressive ever beheld In
the Auditorium. Expedition alone was
lacking.
Stoermer was at his best last night
In the scene of the Last Supper. His
work in this act was excellent. His
support except for some confusion In
the opening act, was acceptable.
The musical accompaniment, although
composed largely of Catholic hymns
and anthems, reminds one of the long
drawn out strains of "Parsifal." Last
night there was too much pipe organ
IT CRATES on the nerves. Yet in the
first part, when the director could be
heard shouting out directions to the
stage shifters, the pipe organ would
have served a good purpose had 1t
been used to drown the noises behind
the scenes.
The vocal work by Hardy Girard,
who had charge of the musical pro-
gram, Is worthy of special mention. as
were the soprano solos by Mrs. Fred
Dorm.
Misses Alice Russell, Florence Pat
rick and Rosa Domazar sang Lift
Thine Eyes" in an impressive manner
and other numbers by Mrs. I. S. Open
heimer, Mrs. w. ]. Kirkpatrick and
the choir were we'll received.