Passion Play Presented In Jellie Park

Press, Volume C, Issue 29467, 20 March 1961, Page 17

Passion Play Presented In Jellie Park

The Passion Play, which has been a matter of so much public interest, was seen for the first time at Jellie Park last evening. There was a large audience, and weather conditions for the performance were almost perfect. This is the first occasion in which Jellie Park has been used as the setting for a play; and its size and the irregularity of its surface make it very suitable for the entrances and exits in procession, which are a feature of presentations of this kind. There were few traffic noises last evening; and the street lights and the sound of an aeroplane overhead scarcely affected the atmosphere that was so rapidly created.

The cast of the play is numerous and picturesque. For a great part of the action an air of studied dignity and sorrow marked the movements and the demeanour of Jesus and of most of His disciples; and these attributes were sjiared by the holy women. In the eighth scene for instance, “The Way of the Cross,” the long procession round the lake, passing directly in front of the audience, emphasised very painfully the faltering gait and the agony of Jesus. Indeed it is hard to imagine how this part of the gospel story could be brought home more directly to a modern audience. The crucifixion at Golgotha followed. It would be impertinent to talk of the drama of this scene, with the three

crosses silhouetted against the night sky and the poignancy of the Last Words. It is enough to say that this part of the Passion Play was followed by the audience with almost breathless attention. Pathos marked the last moments of the final scene, when the body of Jesus was taken down from the cross and borne away to its burial. The crowd scenes, in which large numbers of players appeared, formed a striking contrast with what has just been described. The impressio given was of a noisy, turbulent multitude. only with difficulty restrained by the long files of Roman soldiers. The grouping here was effective; and on the other hand, those individual figures who detached themselves from the crowd to insult and to accuse Jesus rarely failed to hold the attention of the audience. Of the earlier scenes, that of the betrayal in the garden will doubtless linger in the mind, probably because of the skilful use of flickering lights and torches. The tableau at the abode of Pilate was remarkable for the contrast between Roman dignity and the violence of the mob. In conclusion, one question may perhaps be put forward. Is the ballad with which the production was begun and ended really worthy of the events and words of the passion play, or in keeping with them? Surely something with less saccharine in its composition would have been preferable.