Preface

The following drama is an attempt to present the story of the Passion in such a way as to be within the limitations of a small stage. The Scene, therefore, is the same throughout; the costumes and the properties and the staging generally are of the simplest character; and, for obvious reasons, the Figure of our Divine Lord does not appear at all. It is worth while, therefore, to add a few comments explanatory of the author’s intentions, and of the conditions which he considers to be essential to a proper presentation of the Scenes.

(i) The Scene is the Upper Room throughout. This should be a box-scene, representing three plain interior walls. The walls may be crossed by flat beams, as in w magpie ” architecture, with the spaces between white or lightly tinted; or they may be white throughout, or of woodwork, or of stone. There are two ordinary doors R. and L., two-thirds of the way to the back wall. This back wall has a very wide arch in it, with plain dark curtains hanging at either edge. Immediately outside this arch at the back rise two or three steps, on to a raised platform with a parapet, behind which is a concealed space of about three feet wide; and behind this hangs a cloth of dark blue-grey, on which is painted in dark green or brown the crown of a hill. The cloth, above the hills, is pierced by small holes; and in Act I., Act II. Scene 2, and Act III. a brilliant light must be placed behind the back-cloth: this gives an effect of stars. The moon in these same acts can be indicated by a hidden light to the R. or L. between the arch and the back-cloth. Streaks of sunset and dawn can be effected by taking out small slashes in the sky just above the hill, and filling them in with dark red or yellow stuff. The passing of the spears and crosses in Acts I. and II. can best be managed by the three persons seated out of sight behind the parapet, who pass the spear-heads and tops of the crosses from hand to hand with the proper motions. Care must be taken that the accompanying sounds should not be too loud, as it is in the street below that the procession is supposed to pass. The moving of lights can be indicated by the waving of candles or electric torches out of sight. The furniture must be plain. The table should be long and narrow, on trestles. The stools absolutely plain: the chair behind dignified and simple, with a tall back and arms. The vessels and candlesticks must be plain: it does not matter of what age. The cloth should be edged with red or blue to suggest an altar-cloth. There is no reason to shrink from anachronisms; as the play is symbolical rather than realistic.

(2) The costumes should be of plain strong colours. Absolute white should be avoided 5 and all light tints of every kind. They should be made with very full folds. A useful form of head-dress can be managed by laying a cloth or handkerchief over the head, and confining it by a piece of string tied round the head, from the forehead, just behind the ears, down to the nape of the neck. This keeps all in place, and will not slip.

The “make-up” should be simple and strong. The women should be very pale, and darkened a little under the eyes. The men should be browned; especially St. Peter, Longinus, Judas, Achaz, and Samuel. St. John should be made up more like a woman; and St. Joseph of Arimathaea rather less brown than the other men.

(3) The acting and speaking should be slow and deliberate. When gestures are made, let them be full and spacious; and passion should be shown far more by intensity of voice than by either speed or shouting. Judas alone should be rapid and spasmodic.

(4) The music should be grave and soft throughout, except where otherwise indicated. Men’s voices should largely predominate. Strings and a small organ would be the best accompaniment.

THE PERSONS OF THE DRAMA

The Doctor.

Achaz {the landlord of the Upper Room). Samuel {his servant).

Joseph of Arimath^ea.

Peter.

John.

Judas.

Longinus.

Mary.

Mary Magdalene.

Veronica.

A Chorus of voices.

Note “ R ” and “ L,” throughout the stage directions, signify the Right and Left of the actor facing the audience, not of the spectators.