_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._
II. MELCH.
Born a King, on Bethlehem’s plain,
Gold I bring to crown Him again,
King for ever, ceasing never,
Over us all to reign.
_Chorus._ O star of wonder, &c.
III. GASP.
Frankincense to offer have I,
Incense owns a Deity nigh.
Prayer and praising, all men raising,
Worship Him, God most High.
_Chorus._ O star of wonder, &c.
IV. BALTH.
Myrrh is mine, its bitter perfume
Breathes a life of gathering gloom;
Sorrowing, sighing, bleeding, dying,
Sealed in the stone-cold tomb.
_Chorus._ O star of wonder, &c.
V.
Glorious now behold Him arise,
King and God and sacrifice,
Alleluia, Alleluia;
Earth to the heavens replies.
_Chorus._ O star of wonder, &c.
MAR. (_looking up_).
Read it again. (_She listens._)
ABEL (_reading_).
“Lo! Gentiles in Thy Light
Shall walk; and kings, all in the splendour bright
Of this Thy rising. Lift Thine eyes and see!
Lo! they are gathered; lo! they come to Thee!
Behold, Thy sons and daughters come from far” (_pause_).
And then again ... “From Madian and Epha,
From Saba too they come ... a company
Of kings on camels—all shall come to Thee.
And myrrh and gold and incense bring with them
To show God’s glory in Jerusalem.” [_He looks up._
MAR. (_meditatively, sewing_).
Why, ’tis most strange—this ancient prophecy!
Surely it stands as plain as plain can be!
And yet no kings or camels!
ABEL (_clasping his knees_).
Martha, dear,
How I should love to see them!
MAR.
Have no fear.
’Twill come to pass, if God hath spoken so....
Where is our Lady? [_She stands up and comes to front_ (R.).
ABEL (_putting book down_).
Oh! an hour ago
She went with Jesus in her arms, to see
The sheepfolds. Joseph and old Zachary
Went with her.
MAR. (_walking meditatively_).
Twelve full days have gone and past,
And yet no kings or camels.
ABEL (_clasping his knees_).
Why, how fast
’Tis gone.... Why, heaven itself is not more sweet—
To look on Jesus!—kiss His hands and feet
And kneel before our Lady!
MAR.
Silly boy!
Why, this _is_ heaven!... for all is peace and joy
Where Jesus is. Why now— [_Enter_ DAV., _running_ (R.).
DAV.
They’s coming in.
[_Violin begins, off, “Adeste Fideles.”_
Quick, Martha, quick—the lights! [_Signs to music._
Now then, begin.
[_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.).
ZACH.
Well, children, here we are—come back, you see—
Jesus and Joseph both, and Queen Mary,
To home in Bethlehem.... How have you sped
Meantime while we were gone?
MAR.
Why, Abel read
A little; and I sewed a little.
ZACH. (_lifting book_).
What is this?
MAR.
Why, we were reading that—the prophecies
Of kings and camels, Uncle, who, they say
Shall come to worship Jesus.... Where are they?
ZACH.
Nay, child, but ask our Lady: she knows best.
[_He signs to her._
MAR.
Show it her, Abel.
[ABEL _jumps up, opens book, steps on dais, and
points out passage, first genuflecting_.
ABEL.
Here! and all the rest
That follows ... here ... and here ... here, do you see?...
[ZACH. _comes and looks over book_.
Now will you tell us, please, your Majesty?
ZACH.
Nay, let me read it. [_He takes book and comes_ (L.) _front_.
“Gentiles in thy light
Shall walk; and kings, all in the splendour bright
Of this thy rising. Lift Thine eyes and see
Lo! they are gathered ... lo! they come to Thee.
Behold Thy sons and daughters come from far.”
[_Looks at_ MARY _and back_.
... Why, that would mean that following the star
They come from Orient and from Araby....
And yet they come not ... will your Majesty.
[_Breaks off as_ MARY _turns and looks out_ (R.).
_Distant jangled murmur._
... Why now, what sound is that? How loud it swells
High on the wind!—Why, sure! ’tis camel-bells.
[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.
DAV. (_excitedly, pointing_).
Oh! look! the camels—see how slow they wind.
Look! look! Here are the kings! and there behind
The servants follow ... See, they’re coming ... See!...
Now they are stopping! Oh! I’m glad that we
Were here to see it!... Now they’re kneeling down—
The camels, at the door—and all the town
Is out to see them.
ABEL (_pointing_).
Look! they’re taking out
The bundles and the gold; and all about
The people crowding.... Why! how grand they are!
DAV. (_pointing_).
Oh look! look at that sceptre!... Grander far
Than Herod’s.
ABEL (_pointing_).
And the crowns! Why, that’s the gold
Isaias told us of.
DAV.
Why, look how old
That first one is.
ABEL.
(_A little frightened, taking holding of_ MARTHA.)
Oh, Martha, stand by me.
(_To_ MARY.) They’re coming up the steps, your Majesty.
[MARY _makes gesture to_ ZACH. _to go_ R.
ZACH. _steps_ R. _Knocking._
ZACH.
Yes, sir; and who are you?
GASPAR (_without_).
[_He speaks slowly and gravely._
We come from far,
Led by the shining of a splendid star.
Our names are Gaspar, Melchior, Balthasar.
ZACH.
Whom do ye seek?
GASP.
We seek a new-born King,
To bring Him gold, and every precious thing
That kings should have.
ZACH.
And is that all?
GASP.
Nay, nay;
We bring Him myrrh; for He shall die one day.
ZACH.
What? He shall die?... [He glances at Mary.
And is that all?
GASP.
Why, no,
It is not all; for all men here below
Shall die. But God our Lord shall rise from thence,
And therefore do we bring Him frankincense. [_Pause._
ZACH. (_very slowly and impressively_).
And is that all?
GASP.
Nay. As is meet and right,
We bring our darkness to His Heavenly Light.
Our ignorance to The Wise; our sicknesses
To Him for health; our sins to His Righteousness.
Aye; all our nature, ringed about with Hell
And Heathendom to Him, the King of Israel.
ZACH. (_making gesture of welcome_).
Come in, then, since ye know these mysteries;
For here He dwells, and this His Palace is.
[_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_.
GASP. (_courteously_).
That is our Lady?
ZACH.
Yes.
MELCH.
And that her Son,
The King of Kings?
ZACH.
Yes, sir.
MELCH. (_clasping his hands_).
Oh! well begun
Was this our journey.
BALT.
And well ended too.
(_To_ MARY.) Hail, Mary, full of grace!
[_He bows to her again._
MELCH.
The Lord in truth
Is with her! In her arms, in very sooth!
[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_.
GASP.
Here be two crowns of gold for Him and Thee;
And here a sceptre all of gems.
MELCH. (_leaning forward with censer boat_).
For me
I bring sweet frankincense.
BALT. (_leaning forward with casket_).
And I but myrrh
To offer here.... Lord Joseph, give them her.
[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_.
GASP.
Will not my Lady take a gift or two
Of silk and satin, broidered through and through
With jewels?
MELCH.
And a many-coloured dress
Fit for the Little King of Righteousness.
[JOSEPH _steps forward, takes the gifts,
and lays them at_ MARY’S _feet. Then_
ABEL _steps forward with_ MARTHA.
ABEL (_to_ GASP.).
Will you not speak for us?
MAR.
Some word to tell
To Jesus, for to show we love Him well?
We—and the people here [_Signs to audience._
Who have no gold
Nor myrrh nor frankincense; yet, young and old
Alike, desire to show that for their parts
They love their Infant King with all their hearts.
ZACH.
Aye, speak, King Gaspar, at this holy tide
For us who have no gold—and all poor folks beside.
[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._
GASP.
Why, yes; the greatest gift is yet ungiven,
For He, who for our sake came down from Heaven,
Has all already. For His glory fills
The earth: the cattle on a thousand hills,
The birds, the beasts, the fishes; gold and gem,
Ivory of Ophir—all are His; for them
He made, and they are His. [_Stretches arms._
So we entreat
To offer here before His holy feet
That which alone He asks of us—the love
For whose poor sake He came here from above,
Since we, as best we can, have played our parts,
[_He kneels, stretches hands. All kneel with him._
Oh! JESUS, MARY, JOSEPH, take our hearts.
To JESUS, MARY, JOSEPH, wondrous three,
All glory, praise, and honour endless be
From men and angels now and through eternity.
[_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.
[Illustration]
APPENDICES
I. THE SCENERY
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.
II. THE PROPERTIES
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.
III. THE COSTUMES
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:
(1) The turban proper, made of voluminous thin material
wound round the head and tucked into the top.
(2) A large thin piece of stuff, made to fit the head
by a ring of elastic on the inner side and flowing
down behind over the shoulders and back.
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.
IV. THE METHOD OF ACTING
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.
Printed by BALLANTYNE, HANSON & CO.
Edinburgh & London
FOOTNOTES:
[1] Bramley and Stainer’s “Christmas Carols, New and Old,” 1st Series,
No. 1.
[2] B. & S., 1st Series, No. 19.
[3] B. & S., 2nd Series, No. 21.
[4] B. & S., 1st Series, No. 3.
[5] This carol is printed here by the kind permission of Messrs.
Novello and Co. (B. & S., 3rd Series, No. 49).
[6] B. & S., 1st Series, No. 6.
[7] B. & S., 1st Series, No. 2.
[8] B. & S., 3rd Series, No. 61
[9] B. & S., 1st Series, No. 11.
[10] B. & S., 3rd Series, No. 45.
[11] The “Instruments of the Passion” are as follows: A spear, a sponge
on a reed, a crown of thorns, three nails, a board painted with INRI.
These can easily be bought or made, and are carried visibly in white
humeral veils.