“THE ZEAL OF THY HOUSE”

Press, Volume LXXV, Issue 22850, 25 October 1939, Page 3

“THE ZEAL OF THY HOUSE”

PLAY * PRESENTED IN CATHEDRAL

HISTORICAL INTEREST AND FINE PAGEANTRY

“The Zeal of Thy House,” which is being presented in the Cathedral this week, is a play of a kind not seen before in Christchurch. Written by Dorothy L. Sayers specially for production in a church building, it is well adapted for that purpose both in content and structure. It commands attention both by the interest of its historical subject matter, its dramatic strength, and its robust dialogue. Pageantry of lighting, colour, and music add greatly to its value. It is successful as entertainment: but it is intended to be, and is, a great deal more than entertainment —tne aramauc story of the spiritual life and creative work of William of Sens, architect for the rebuilding of Canterbury Cathedral from 1175 to 1179 A.D.

The stage has been erected immediately before the rood screen which divides the chancel from the nave of the cathedral. The play begins with the entrance of the three archangels, Michael, Raphael, and Gabriel, with Cassiel, the Recording Angel. Magnificently clothed, the angels take their stand before the rood screen—Michael with a sword, Raphael with a censer, Cassiel with a book, and Gabriel empty-handed. They stand there during most of the succeeding action of the play. ' The Prior of Christ Church and the Choir Brothers and members of the Cathedral Chapter of Canterbury meet to choose an architect for the cathedral, not long before destroyed by fire. They select a Frenchman, William of Sens, a craftsman of great skill and with a mystical devotion to his work. William immediately proves himself a master buildei', and when the second act begins, two yeai’s after the time of the first act, all are overjoyed at the progress of the work. Then William, still directing the building with singleminded passion, causes scandal in the town by the reputed looseness of his private'life. More dialogue among the archangels reflects the uneasiness caused by William’s behaviour; but the work goes on. increasing in strength and beauty. Then, while William is engaged in conversation with the Lady Ursula, who has captivated him, his idle workmen fail to test properly the rope which is to hoist him to the keystone of the great arch. The rope breaks. In one of the most impressive scenes of the play, the sword of the Archangel Michael is seen to cut the rope in the height of the chancel. William is crippled. With a broken back he is brought on a stretcher to watch the work go on. Troubled in spirit, it is only after long self-exami-nation and a vision of the angels, that

he realises the sin of pride which caused his downfall. With his repentance the play ends. The play will be presented again* to-day, to-morrow, and on Friday.