A Mystery Play

A MYSTERY PLAY

FILIABVS · AMICIS

CONVENTVS · S · MARIAE · CANTABRIGIENSIS · ALVMNIS

QVARVM

ARDOR · PIETAS · REVERENTIA

INGENERAVIT · FOVIT · ILLVMINAVIT

LIBELLVM

VOTA · IMPLORANS

D · D

SCRIPTOR · INDIGNVS

THE following play was produced at Cambridge in December 1907 and January 1908. It was acted six times altogether, to full houses, upon a temporary stage in the schoolroom of St. Mary’s Convent, by the girls of the school, whose ages ran from six to eighteen. The scenery, the properties, and the costumes were constructed—with the exception of two simple Eastern dresses and a few weapons—out of materials lent to the convent or possessed by it. The cost, therefore, was extremely small; the trouble only was great, and this lay almost entirely in the learning of the parts and the rehearsals.

It is alleged sometimes, as one reason for fearing such performances, that the spirit of the age is very different from that in which this method of bringing the Christian mysteries before the eye was almost universally practised. This fear, of course, was not absent from the minds of those responsible for this production, but it proved wholly illusory. The audience, consisting of Catholics and non-Catholics drawn from all classes, was begged, by a sentence on the printed programme, to refrain from all applause and conversation, and loyally responded to the request. There was practically a dead silence from the first notes of the first carol to the departure of the audience at the end.

It has been thought worth while, therefore, in this age of Pageants, to print and publish the text of a play which has for its object the furthering of devotion to the Nativity of our Blessed Lord, and which has been put to the test of actual performance before a mixed assembly, in the hope that others perhaps may venture upon a task which to its original promoters has appeared at least to justify its inception. Full directions are given in appendices as to the methods by which the staging was accomplished and the properties constructed, as well as, in the text itself, minute stage directions as to the movements of the actors. Realism and passion have been studiously avoided in the training of these; and in their place a kind of slow and deliberate simplicity has been arrived at throughout. There was practically no attempt made to disguise the faces of the actors, except in the matter of a brown stain applied to the faces and hands of a few, and of two or three beards in the cases of old men.

In case, however, that the recommendations given in the book do not seem sufficient to others, the author will be happy to answer any questions that he can.

The present edition contains illustrations, appendices, and stage directions; a cheaper acting edition shortly to be issued will contain only the words with a few necessary remarks.

The collection from which the carols are taken is one compiled by Dr. Stainer and the Rev. H. R. Bramley, under the title “Christmas Carols, New and Old.” It is published with music by Novello. Acknowledgments are made in the proper places.

An admirable orchestral effect may be produced by the use of a piano and an American organ played together.

The play as a whole does not aspire to be considered a literary production; it is only published as a practicable drama.

DRAMATIS PERSONÆ

SCENES

PROLOGUE

Road outside Bethlehem. Sky, stars, snow. Up, centre, a little to left, a stump of a tree. As curtain begins to rise, there is sung by invisible Choir....[2]

WHEN Christ was born of Mary free In Bethlehem, that faire citie, Angels sang there, with mirth and glee, In excelsis gloria!

Chorus (repeat). In excelsis ...

2. Herdsmen beheld those angels bright, To them appearing with great light, Who said, “God’s Son is born to-night,” In excelsis gloria. [Chorus.]

3. The King is come to save mankind, As in Scripture truths we find, Therefore this song we have in mind, In excelsis gloria. [Chorus.]

4. Then, dear Lord, for Thy great grace, Grant us in bliss to see Thy face, That we may sing to Thy solace In excelsis gloria. [Chorus.]

Then, enter Zachary (L.); walking with a stick, carrying a bundle and a lantern. His shoulders are covered with snow. He walks very slowly. In centre of stage he halts, looks about him slowly.

[Enter (L.) Eliphaz, Nadab, and Uzziel, together, arm-in-arm; richly dressed; muffled up; carrying bundles, walking with sticks. Nad. carries a lantern. They come across briskly as they reach stump. Zach. suddenly stands up, pulling his forelock. They start violently apart.

Why! Who comes here? An old man and a maid——
See how slow they wind!

[The three shrink together backwards across the stage to (R.) as (L.) enter Joseph and Mary, very slowly. She leans on him. They come up to tree. She sinks on to it, in his arms, and drops her head. He stands behind, holding her. So the tableau remains. Behind the scenes the Chorus sings, as below. During the singing, Abel advances step by step, almost imperceptibly, with Martha behind and Zachary last.

[At this point Abel reaches Mary, and kneels down before her on his knees, looking, on her right, and Martha on her left, Zachary in centre. During the next verses, Mary opens her eyes, sees them, then slowly stretches out her hands on to their heads; each kisses her hand. Then both Mary’s hands on Zachary’s head. He takes them both and kisses them. All this very slowly during following verse.

[Then Mary is slowly supported by Joseph on her right, with her arm round his shoulders, and, on the left, in the same way, by Martha and Abel. Zachary slowly gathers up bundles and sticks and lantern.

[They begin to go out (R.) in the above order. As they disappear (R.), enter (L.) two tall angels bearing swords in right hand and burning tapers in left, and two small angels bearing tapers only. These pairs slowly cross stage, and as curtain comes down they are still passing, and simultaneously the last chorus ends.

Curtain.

[A quiet piece of music begins and continues until Carol.

The three Merchants rise in alarm—

Before curtain rises, invisible Choir sings—

COME let us all sweet carols sing,[5] Omni relicto tædio Of Mary, Mother of our King, Christoque Jesu Filio. When she had borne that Holy Thing. Reponit in præsepio (bis).

2. Now Gabriel sweeping from the sky, Missus a Deo nuntius, These tidings beareth from on high, Lætissimis pastoribus, Behold your God on earth doth lie, Invenietis protinus.

4. Quickly away the shepherds flew, Clara Gabrielis voce, Rejoicing as if filled anew, Bono Bacchico liquore, Leaping and dancing nigh they drew, Simul in Bethlehem Judæ.

6. They entered then the hallowed cave, Jesum hic adoraverunt, The best of all they had they gave, Puerumque oraverunt, Pardon for that was lacking crave, Subitoque abierunt.

Curtain Rises

Scene—Kitchen of inn. In centre a fire: pot over it. White walls. Two doors R. and L., R. into street, L. into inn. A table R. with three stools. Discovered Tobias, stirring pot, and David busying himself with plates at the table. After curtain is up, Tobias leaves spoon in pot, and comes forward. During all this scene he is plainly uneasy and indecisive. He relapses into silence, then rouses himself to speak.

[They range themselves. Enter Dav. with bottle, mugs, bread, and meat, and exit again (L.). They begin to eat and drink. Landlord stands with arms akimbo by fire, watching. Now and again he comes to table, helps them to wine, &c., and goes back, as conversation continues.

[He begins to walk about uneasily, pensively. There is a long silence. The three eat. Then he suddenly comes back.

[Air of “A Virgin” sung by Choir with closed lips; it continues very faintly down to where Eliph. opens the door.

[Slowly Tob. comes across to table, still listening. Dav. slips out R. Eliph. follows Tob. All fill cups, Tob. still listening. Music swells up; dies again. Tob., after pause, touches his cup with the others. They all drink.

Curtain.

Pastoral symphony begins at once, and continues until the Carol.

Angel.—Gloria in Excelsis Deo.—

Before curtain rises, invisible choir sings.

THE first Nowell the angel did say,[6] Was to certain poor shepherds in fields as they lay; In fields where they lay keeping their sheep, On a cold winter’s night that was so deep.

Chorus. Nowell, Nowell, Nowell, Nowell, Born is the King of Israel.

2. They looked up and saw a Star Shining in the East, beyond them far; And to the earth it gave great light, And so it continued both day and night.

Chorus. Nowell ...

3. (4.) This Star drew nigh to the North-West, O’er Bethlehem it took its rest; And there it did both stop and stay, Right over the place where Jesus lay.

Chorus. Nowell ...

4. (6.) Then let us all with one accord Sing praises to our heavenly Lord, That hath made Heaven and earth of nought, And with His Blood mankind hath bought.

Chorus. Nowell ...

Scene—Hills outside Bethlehem. Lights very low. Starlit sky; rocks on either side; snow on ground, except round fire and shelter. R. A shelter of hurdles, open side facing audience, with a stool within it. A fire burning; heaps of skins round it. Ezra discovered L., looking out under his hand L.; so he continues a while. Enter R.,from behind shelter, Ben-Ezra with lamb.

[Enter Zach. slowly, on stick. All through this scene he speaks rather monotonously, as if bewildered.

[Zach. sits down, begins to eat. He talks slowly, with long pauses. Ezra sits by (L.) edge of shelter, cross-legged. He warms his hands at the fire. While he talks and listens Ben-Ezra keeps walking gently up and down (L.), now and then pausing to listen or speak.

[At this point Angels begin to come in softly one by one behind; take places. Music also—“Nowell”—begins very softly and continues when Angel speaks.

[The two settle themselves for sleep. Zachary remains bolt-upright facing audience, seated. Music continues—a little louder. He starts, then rises softly. Comes out, and sees the angels, and stands aghast. Suddenly lights turned up to the full. Angels all stretch arms up and out. Zachary falls on his knees. The two others awaken; rush out. Then, to the ordinary plainsong melody of mass—

Curtain.

[Immediately after curtain, a piece of music begins and continues till carol.

Lullay, Thou little tiny Child.—

Before curtain rises, invisible Chorus sings.[7]

LIKE silver lamps in a distant shrine The stars are sparkling bright, The bells of the City of God ring out, For the Son of Mary was born to-night. The gloom is past, and the morn at last Is coming with orient light.

Curtain rises. Scene—Interior of stable. Back, centre (L.), a manger, with lamp burning in it above. Joseph and Mary kneeling before it motionless. Rest of stage dark. Mary kneels rather in foreground. The Child is just visible. Two angels stand throughout at the head and foot of the manger. If possible, one plays a violin, the other a zither.

[Mary slightly changes her position. Joseph lays censer down. Music modulates into Coventry Carol.

[Enter softly Martha and Abel, hand in hand. Abel is holding a toy-horse. They stand motionless, staring. Standing front (L.). They look the whole time at the crib.

[Angels begin to come in and group themselves. They carry the Instruments of the Passion in humeral veils. They form group down stage (L.).

[Angels remain motionless, turned towards manger. During the following carol the children go across, step by step, nearer and nearer: they kneel down by Mary. Abel offers his horse. Mary takes it, and makes him put it by Child in Manger. Mary leans over manger and puts arms round Child.

[Enter Shepherds, followed by Dav. These fall on their knees, Zach. and Dav. together; and remain till end of singing. Zach. is nearest audience, then Dav., then Ezra, then Ben-Ezra.

[Music continues softly until Mary rises. If possible, the music should be played on the violin only, which the Angel holds. The air is that of the preceding Carol.

[Joseph rises. Then Mary lifts the Child, all others fall on their knees; and all the Angels. All remain absolutely still. Then, if this Scene is the last, she brings the Child to the front of the stage. Music stops. She lifts the Child as high as she can.

Curtain.

Mary—Magnificat anima mea Dominum—

Adeste Fideles:—

The Epiphany.

Handel’s “Largo” is played before curtain rises.

[If this Scene is acted, in previous Scene Joseph does not cense the manger; and Mary does not come to front with Child. She only lifts Child, says the words set down. After which Curtain descends.

Before Curtain rises the first verse of the following carol is sung.

I.

WE three Kings of Orient are;[10] Bearing gifts we traverse afar Field and fountain, moor and mountain, Following yonder star.

Chorus. O star of wonder, star of night, Star with royal beauty bright, Westward leading, still proceeding, Guide us to Thy perfect light.

[Curtain rises again on same scene as before. But the Manger is not there. In centre back of stage stands a dais, and upon it a tall chair, bare; two unlighted candles stand upon dais. Discovered, Martha and Abel, seated upon dais. Abel has book in his hands, reading. Martha is sewing a child’s dress. Lights are high. A silence follows close of carol.

[Organ takes up Adeste ... with violin. Abel springs up at David’s entrance; runs to side, gets tapers and lights two candles that stand beside chair. He takes one, Dav. takes other. Mar. picks up basket of flowers. All three go to entrance (R.) and wait, facing audience, looking out. Enter (R.) two Angels, playing violin and zither; then Angels bearing instruments of the Passion; then Zach. with spear; then two Shepherds with spears; then, after slight pause, Mary, cloaked, carrying Child; then Joseph, and two more Angels with swords. Mar. slips in behind two Shepherds, and walks backwards, strewing flowers, Abel and Dav. place themselves on either side of Mary with candles and walk with her. The procession takes curve to front and comes up to chair. Mary stands at chair, slips off cloak into Joseph’s hands, and sits. Candles placed by her. Joseph stands behind (R.), Angels group themselves at back. Shepherds pass to (L.) front. Mar., Abel, and Dav. seat themselves on dais; Zach. stands by dais (L.); Joseph behind chair (R.).

[Mary remains passive, smiling. All others look out eagerly (R.). Sound comes nearer, footsteps, bells, murmur of voices. Children spring up. Angels continually look at Child.

[He goes across again (L.) genuflecting. Children stand back, staring. Enter, slowly, Gaspar, Melchior, and Balthasar, followed by two servants with bundles, &c. The three come down (R.) and stand facing towards Mary; they bow profoundly. Mary bows back.

[Mary holds out Child. Zach. makes a sign to them. They bow again profoundly as “Adeste” begins to be played, then, one by one, they go up in order. Each genuflects before dais, then, kneeling on dais, kiss the Child’s foot and Mary’s hand; then each retires back to R. front and kneels once more. Music ends. Gaspar lifts two crowns from Servant’s tray, and holds them out; then sceptre.

[Joseph advances, takes crowns, genuflects, places them on dais, then the casket, finally the censer, into which he puts incense; he kneels; all kneel. He censes throne with three double swings. He stands, genuflects, and goes back. Gaspar turns to tray, lifts a cope, still kneeling. Melchior takes a little silk robe.

[Joseph steps forward, takes the gifts, and lays them at Mary’s feet. Then Abel steps forward with Martha.

[Gaspar rises, looks at audience, then back to Mary. Then suddenly and fervently speaks. His voice rises in tone and force as he speaks, till he ends passionately.

[Music of “Adeste Fideles” instantly begins, ff.; the curtain comes down; then rises again to show Mary coped and crowned; then after one chord all begin to sing—all on their knees. At end of first verse Gaspar rises, then Melchior, Balthasar, Zachary, Two Shepherds, Abel, Martha, David, Servants, Angels—each one by one comes up, genuflects at dais, and kisses the Child’s foot and Mary’s hand. Meantime Joseph, kneeling at side, censes them. At end of last chorus, as last line begins, Mary stands, and as she makes Sign of Cross with Child, all cross themselves.

Curtain.

THE stage on which the play was acted was about four feet in height, twenty-four in width, and twenty-four in depth. It was furnished temporarily with footlights consisting of gas-tubing pierced by seven burners shaded with tin head-lights permanently fixed, two side-lights also permanent, and two incandescent burners behind the back-scene.

As substitutes for all these except the last, oil lamps are suggested, hung or standing and guarded with wire; for the last, a strong acetylene light.

The scenery throughout consisted of these things only—a permanent back scene, hung from a roller, constructed of opaque, dark, grey-blue paper pierced irregularly with very small holes; six wings, three on a side; two dark curtains hung on a wire to slide backwards or forwards across the back-scene, about a dozen dust-sheets and a quantity of brown paper and cotton-wool. (It must be remembered that the object was not to produce startling stage effects, but rather a soothing and suggestive background.)

These extremely simple accessories were employed as follows:

First Scene.—The curtains were drawn back out of sight altogether behind the backmost wings. The floor was entirely and irregularly covered with dust-sheets, and, to aid the appearance of irregularity, various objects, such as footstools and blocks of wood were placed beneath them. The wings were managed in this manner. Each of them was a light framework of about three feet in width and ten in height. One side of them (that presented to the audience in this scene) was covered with large sheets of brown paper of all shades, deliberately crumpled and bulging, and, here and there stained with paint. Upon the upper side of each irregularity was gummed a flat thick piece of wide wadding, following the curve of the paper, to represent fallen snow. These six wings, placed of course not parallel with the back-scene but slightly towards it, provided three exits on each side, two of which only were used.

Finally, the back-scene, painted with whitewash at its bottom to represent a distant line of snow-covered hills, hung full in view. All lights except the incandescent burners behind were turned extremely low; and the result of this elementary composition was a really astonishing effect of a snowy defile between rocks, seen at night time, with a sky blazing with stars. The light necessary for the seeing of the actors’ faces was supplied by the lanterns they carried.

Second Scene.—The curtains were drawn forward so as nearly to meet in the centre, giving a glimpse only of the back-scene which throughout the entire play remained in its place. The wings were reversed, showing their other sides to the audience. These reverse sides were covered with smooth yellowish paper, painted to represent large blocks of pale stone. The wings, it must be said, had no attachment at the foot, but the heads of them turned in iron forks, like the rowlocks of a boat, reversed and fixed to beams above at the proper intervals. One of the wings, that nearest the back-scene (R.), was painted to represent a tall door with iron scrollwork across it. Lights up.

Third Scene.—This was the same as the first, but the large properties used in this prevented a sense of monotony. Lights down.

Fourth Scene.—This was the same again, with other large properties. Lights half down.

Fifth Scene.—This was the same again with further properties. Lights up.

Finally, overhead throughout were hung ordinary “flies,” or long strips of cotton, as broad as the stage and about two feet deep.

Under this head it is proposed to describe chiefly those properties that needed actual construction. For all the articles used throughout, such as the table and stools in the kitchen-scene, it is enough to say that they should be as simple and rough as possible. They should be even rather dirty.

In the first scene there is no property used beyond those connected with costumes (to be described later) except the tree-stump on which the shepherd sits. This is simply a three-legged stool with a dust-sheet draped over it.

In the second scene, there is the fire over which the inn-keeper is cooking. A strong black bandbox was taken, and from it were cut out sections, supported by uprights, making it to resemble a road-mender’s brazier. On the floor of this stood a cylindrical candle-lantern with a burning candle within; and round this lantern was wrapped red flannel. Between the flannel and the bars of the “brazier” were inserted sticks at irregular intervals. The whole thing was placed on a three-legged stool, and a brown cooking-dish rested on the top.

In the third scene this fire figured again, standing on the ground. Most of the stage R. was occupied by the shepherds’ shelter, with room, however, left to pass both behind and before it. The shelter was constructed of a three-sided clothes-horse, about six feet high; and this was hung all over and roofed by pieces of old sacking and deer-skins. The opening was towards the audience. A hurdle, standing on end, projected above the roof.

The “lamb” was life-size, ingeniously made out of cotton-wool, with a cotton skin on which were painted eyes and mouth. It is wrapped throughout in a piece of sacking, so that no more of it need be finished than the head and front legs.

In the fourth scene the chief property is the crib. A box was taken about four feet long, by three by two, and set on one of its long sides upon a table. The whole of the box and table was then covered with crumpled and painted brown paper, resembling that fastened to the wings; straw was laid inside, and a silver lamp hung from the edge to the upper side. The starry sky at the back was variegated by a large hurdle projecting from behind the crib. The bambino was supplied by a well-known firm in London.[11]

In the fifth scene, from which the crib is absent, the principal property is the throne and dais. This needs little comment. The dais came from a schoolroom; and the chair was a very tall armless one of yellowish wood. Two tall mahogany candlesticks stood on either side upon the dais. The book used by the boy was a large leather volume bound by strings.

Before treating these in detail, it is necessary to treat first the general principles that were followed.

These were:

• 1. That the drapery should be voluminous.
• 2. That the colours should be dark and soft.
• 3. That the dresses should be shaped after Eastern models.
• 4. That all such things as tinsel and spangles should be utterly eschewed.

Now the foundations of Eastern dress are the following:

1. The Tunic.—This is a long-sleeved garment resembling an alb. It may be of any colour, or white. In the case of young men and boys it is drawn through the girdle up to the knees.

2. The Burnous or Mantle.—This is more difficult to describe; but it may be constructed by taking a large rectangular piece of stuff, about four feet deep by six feet wide. Imagine this spread out on the ground. Then take the top corners and fold them in about eighteen inches along the top edge, folding in at the same time the whole length of the stuff below. Sew along the top edge only to right and left, thus making supports for the shoulders. Then cut at either side, near the top, in the crease of the stuff, two wide arm-holes. Finally, fix about eighteen inches down the front, on the folded stuff, a strong hook and eye on either side.

The Burnous, then, is generally worn simply as a wide and voluminous cloak, fastened by the hook and eye; but in the case of one or two the arms may be put through the holes. It should be made of heavy stuff, and should hang loosely and even clumsily. It may be variegated with effect by long strips of stuff or some other colour attached down the front of the folded wings and straight over the shoulders down the back.

3. The Girdle.—This may be of rope in the case of the poor, and of rich stuffs in the case of the rich. When the girdle is wide weapons may be thrust into it.

4. The Head-dress.—This is of two kinds:

5. The Foot-gear.—This must consist of sandals, with the addition, in the case of those whose skirts are worn to the knee, of voluminous stuff wrapped round the leg and tied there by cris-cross bindings of string or leather, or the material used by gardeners for tying up plants.

Now, if these principles are followed, the rest is easy. (The “Kings” and the “Angels” need separate treatment.)

1. Mary.—She wears a night-dress to her feet. Over this she wears a tunic of dark-blue muslin, also coming to her feet; a white burnous; a long white veil; and sandals. In the fifth scene she is, after the first fall of the curtain, robed in a white cope, and crowned. A sceptre is also put into her hands.

The crown was an imperial one, constructed of cardboard covered with crumpled gold paper, with strings of jewels and brooches, over a crumpled cap of dark-blue velvet. The sceptre can be made in the same kind of way.

2. Joseph.—He wears a white tunic to his feet, with heavy white or yellowish girdle; a dark-red burnous striped with white; and a white handkerchief over his head and shoulders. He is bearded and browed with grey over a stained face. [See below.]

3. Tobias.—He wears a dark-blue tunic with broad brown girdle, brown burnous and turban of “Rhodian” silk. He is girt to just below the knee, and wears hose and sandals. His face is stained and eyebrows darkened.

4. David.—He wears simply a short-sleeved dark-green tunic and cord girdle; hose and sandals.

5. Zachary.—He wears a long yellowish tunic to his feet, a brown burnous striped with white, a brown handkerchief on his head; and sandals. He is bearded and browed with grey over a stained face. [See below.]

6. Ezra and Ben-Ezra.—These are in short dark-brown tunics and are wrapped in deer-skins. If skins are not available, burnouses must be substituted. Ezra wears a red handkerchief on his head, and Ben-Ezra a white turban. They carry spears.

7. The Three Merchants.—These are all in long tunic and burnous of various darkish colours. All wear turbans and sandals, and Eliphaz a fur wrap. The stuffs used should be of better quality than the others, each of them wearing at least one piece of silk. Each has a broad girdle, in which is a knife or two. They may carry or wear beads.

Martha.—She wears a white tunic, falling half-way between knee and foot, and dark-blue burnous; hose and sandals.

Abel.—He wears a white tunic and deer-skin, with hose and sandals.

Herald.—He is dressed simply in a long girded white tunic and sandals.

The Angels.—These, as a foundation, wear night-dresses, girded. Over this each wears the dress of one of the three Greater Orders. The “priest-angels” wear crossed stoles; the “deacon-angels” dalmatics, and the “subdeacon-angels” tunicles. These garments are all made of voluminous white butter-muslin. They should wear no wings or spangles or colours of any kind whatsoever. Their hair is combed out at length over their shoulders. Two “priest-angels” carry drawn swords upright.

The Three Kings.—These must be dressed as gorgeously as possible, with any materials available; but the following points may be remembered with advantage. The colours used should be splendid, but not light or gaudy. (If, for example, light-blue is used, it is seen at once to be entirely out of scale with the other figures—heliotrope and purple and dark-red or green are far more effective.) Each should present one predominant colour. Each should wear, in addition to tunic and mantle, a long train pinned to the shoulders, edged with ermine. (Ermine is produced effectively by long strips of cotton wadding dotted with black stuff “tails.”) The crowns should be set inside or outside of voluminous turbans of silk. The jewellery worn by them should be heavy and effective and barbaric; for example, a twisted serpent of gold paper turned up the arm, or a heavy collar across the shoulders.

The Servant of the Kings should be dressed on the same lines, but without mantle or train.

Gaspar should be bearded and browed with grey; all four persons should be heavily stained on face and hands.

A suitable stain may be obtained from Mr. Peck, chemist, Trumpington Street, Cambridge, such as is used in the “Greek Play” at the University.

The beards used should not be the ordinary beards made in a piece. Hair should be obtained from a theatrical property shop, and affixed piece by piece with strong spiritgum. For those who wear beards a few lines upon the face are generally necessary to blend the complexion with the hair.

It must be remembered that the play does not attempt realism. It is full of deliberate anachronisms. To act, then, in a realistic manner would be to appeal to the eye in one key and to the dramatic perception in another. It was found therefore necessary during the rehearsals to insist again and again upon a certain conventionality in gestures and tones of voices. The actors were encouraged to be slow, to speak extremely clearly, and to make large deliberate gestures rather than spontaneous movements—to beckon, for instance, with the arm rather than the hand. (This method was, of course, that followed in the recent performances of “Everyman.”) On these lines it was found that the play occupied slightly over two hours.

Especially necessary was this system in the case of such characters as those of the “Herald,” “Mary,” “Joseph,” and the “Three Kings.” The “Herald,” standing outside the curtains, holds himself perfectly upright for the most part. When he bows, he bows low with both hands across the breast; when he signs himself with the cross, he slowly “envelops” himself [as M. Huysmans says] in his movement. The appeal of “Mary” also depends entirely (since she does not speak) upon extremely slow, dignified movements. When she swoons she remains motionless, sunk upon herself; when she moves, she does so with extreme deliberation; she looks for a long time at the character to whom she directs herself, before moving in his regard.

In the same manner, “Joseph” is lost always in a contemplation of “Mary”; his eyes are fixed on her; he keeps the same attitude for long together.

So, too, with the “Three Kings.” They carry themselves extremely upright, they make sweeping gestures, they chant rather than speak, they bow and genuflect slowly and profoundly. The “Children” only are allowed to be spontaneous, without being abrupt.

The character of “Zachary” is the most difficult of performance. He has to avoid prosiness on one side and passion on the other; “deliberateness” must be his watch-word. I am afraid he is rather a tiresome person; but he is as necessary as the Greek chorus, to whom he corresponds. He appears less tiresome if he is represented by a very tall actor who carries himself bent.

Those responsible, then, for rehearsals, must not be afraid of long silences in which little happens. The play is intended as a series of meditations rather than of dramatic situations and developments. Again and again, if the grouping is arranged upon a wide and semi-heroic scale, the actors will be found to fall into tableaux, which may well be looked at in silence. During the longer of these involuntary tableaux, however, music is sung or played.

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