The Elbert County tribune., 1913-11-28

the Catholic missionaries to win converts from
the Protestants, who had preceded them In the
field by several years. and at its initial presen-
tation all the roles taken by French mis-
sionaries gathered from all parts OF the Society
group and brought to the Marquesas In trading
schooners chartered for the occasion. The fol-
lowing year minor parts were given to natives
as rewards for becoming converts to Catholicism,
and before many seasons had gone by the
leading parts came to be taken by the natives,
the missionaries contenting themselves with
such positions as stage manager, musical direc
tor and the like
The Passion Play is presented today in the
same place where the first performance
staged. sort of natural amphitheatre in the
native village of Hivaoa. The mission build
ngs, low, rambling structures of coral blocks and
galvanized iron, flank two sides of pentagonal
enclosure. The other sides shut-in by close
set rows of banyans of such size that their roots
and downreaching branches mingle to form al
most solid wooden terraces upon which hun
dreds OF spectators may find seats. without
crowding.
The stage is hard packed piece of ground
sloping gently down to crystal clear stream
which meanders past sparkling in the sunbeams
like of footlights. the position OF which 1t
approximately occupies. Behind the stage is
creeper covered wall of rock. with a face
sheer that the direction exit rear" must neces-
sarily be eliminated from all performances To
the left is down Ta-roo-la, the name of the little
stream, and to the right is up Taroola. Actors
waiting in either wing screened from the
sight of the audience by the ends of the
OF banyans.
The music is furnished by slightly wheezy
organ. clarinet and lot of hollow tree tom
toms. and to the stirring strains of the Mar
seillaise' played by this orchestra the curtain
is rung up upon the tableau of Christ and the
Children" OF course there is curtain and
ringing up. Christ simply strols In from Up
Ta-roo-la and the children troop in from down
Ta-roo-la, and they meet in the middle of the
stage.
There are no stage settings and little is done
In the way OF makeups. The children sim
ply children and Christ is slmply-wel for the
last fifteen years he has been Lurau Lurau is
the greatest pearl diver and shark fisher in all
the Marquesas. There is little in his disposition
on the stage to fit him for his role. lie owes
the honor that has come to him to his beard: 1t
is the only borne by native in the Mar
quesas.
With his hair and beard neatly oiled and
combed and dressed In trailing white robe of
snowy muslin Lurau makes far more acceptable
Christus than In many OF the South
American presentations of the play. The only
especially jarring note in his makeup Is halo
which is apparently cut from piece of shiny
biscuit tin. During the week of the play, both
on and OFF the stage. Lurau Is quiet dgnified and
a paragon in every particular; afterward he is
Just like all the rest of his brothers and sisters
The second is the Redemption OF the
Magdalena. The latter wearing bright red
holokau or wrapper strolling in from
the upstream side and discovers Christ resting
oil niche of the rock which forms the back
wall. Her repentance and forgiveness follow
after which Lurau presents her with pure
white holokau. She receives blessing, trips
on down stream. changes holokaus behind the
trunk OF breadfruit tree. and the curtain" fol-
lows her disappearance upstream In her trailing
robe OF white.
For the supper scene endeavor is made to
reproduce tableau patterned on the famous
painting OF Leonardo da vinci. A bountiful re-
past OF breadfruit plantains. prawns, yams and
cocoanuts is spread out upon cover of banana
leaves and everybody sits down crosslegged and
eats for fully Ave minutes before word is
spoken
Supper over. the remnants gathered up
and thrown into the convenient Ta-roola. Then
follows the Manhfng Of the feet of the piacinlas