Norwich bulletin., 1911-02-09

common Throughout Europe during the Middle Ages. There are eighteen acts and twenty two tableaux- The tab
 leaux are taken from the Old Testa-
 ment and are of scenes typical or sug- geStlve of incidents in Christ,s life. They appear between the acts and
 foreshadow their various actions. The acts themselves present incidents Tn
 the life of Christ from his triumphaI
 entry into Jerusalem to his ascension,
 and most of these dramatic acts and
 tableaux also are preceded by the ap- spearance of a chorus richly costumed
 in white funics, golden crowns and
 flowing robes of the richest hues
 Stretching across the whole stage
 front, they sing, or the proiogist re-
 cites, a description or paraphrase or
 the act or tableaux to follow. \ This chorus appears more than a
 score of times and the mental effort
 required to sing and learn the immense
 number of verses and recitatioTs which
 they give forth during the eight hours
 of the play shows them to be far above
 the peasant class.
 The play opens with tableaux Of
 the Expulsion from Paradise, beau tiful and realistic scene, wherein Adam
 appears with his face covered and Eve
 goes reluctantly, casting longing
 look backward.
 Another tableau follows, represent
 ing the adoration of the cross by
 children and groups of angels. Then
 follow the sixteen acts, which MT.
 Palmer described at length in a most
 interesting and impressive manner,
 wildly portraying the important de-
 tails.
 E Scene of the Last Supper.
 The scene of the Last Supper had for
 me, said MT. Palmer. the deeper spirit
 ual import In it Christ is more the
 Divinity, less the man. His aspect is ! ~n- -11s, ,.I Tsrx
 words tinged with mystery. Following the crucifixion the climax is reached; {; the following acts, which represent the Resurrection and Ascension, though
 beautiful, add little to the whole inn
 pression. The overstrained mind and and as the curtain falls before Christ
 slowly ascending into groups of angels the spectators in solemn silence go their several ways.
 What makes the Passion Play as given at Oberammergau perhaps the greatest dramatic representation that the world has ever seen? It certain ly is not the stage accessories, the costumes, the music the text or the multitudas which crowd the stage. All of these might be seen elsewhere Nof is it the subject, great and impressive greater the failure if improperly handled. The secret lies in the mental attitude of the players: the spirit o1 the subject is their spirit. To them the play is not a spectacle but re- ligious exercise. Modest, simple folk receiving mere pittances for their ser vices. the play is their ideal, and they feel it their mission to teach it's lessons with all their heart, their mind anG their strength. They go to special de- votional service before each represent ation. The evangelical spirit shines 1 forth in all their actions, emphasizes all their words, pervades in fact tht whole play. They preach the most ef- l fective sermon heard in our time. Mrs. PaImer's Singing Pleased. A very delightful feature of tn, evening was the singing by Mrs 1 ing the lecture. All were given in { charming manner. with excellent ex pression. Mrs. Palmer's voice, rich 1 full and brilliant, was heard at it's best It was a rare treat and fully appre l ciated by the large number of muSl, | lovers. Mrs. Palmer possesses a full l and sweeet soprano voice with a meg 1 20 tint, and the five numbers brough i out it's beauty annd range. The mum bers on the programme were: Tn 1 Cross, Harriet Ware; Jerusalem, Tho, l My Redeemer and My Lord, Dudley Buck. Know that My Redeemer Ldv 1 eth, Handel,s Messiah.
 l In addition as the fifth number sh' sang Gounod's There is a Green HI
 Far Away in most admirable manner F. w. Lester played her accompani ments.
 The stage was prettily decorated will palms and ferns.