MYSTERY PLAY IN A CATHEDRAL

Dominion, Volume 21, Issue 243, 14 July 1928, Page 26

MYSTERY PLAY IN A CATHEDRAL

JOHN MASEFIELD’S “THE COMING OF' CHRIST”

After seeing ’The Coming of Christ,” Mr. Masefield's nativity play, in Canterbury Cathedral one is lelt to marvel thjit Hu* Church and the drama have been estranged so long (says Ihe London "Morning I’ost” critic of the performance). Nearly 3000 people of everv station and: degree thronged Hie great church for the two productions of the Mystery, and stayed silent and entranced by the serene unfolding of the most familiar story in the world. -. . People had come from all over lite country, drawn by an event will I precedent probably since the Middle Ages—the performance ot a mystery play in the nave of Canterbury Cathedral (writes tbe "Manchester Guardian." correspondent). In mediaeval times the nave was the people's part of'the church, and in that sens'. 1 Mr. Masefield’s "Coining of Christ” was a true revival of the social Im bits ot ages when religion was exciting ami dramatic and used every means of appeal to its hand. .. The Dean, the prime mover in this remarkable enterprise, lias defined his aim in giving a sacred play in the cathedral as ottering “a means of dedicating tile arts of poetry, music, and painting to the service of religion.” Of these tilings the poetry, as was natural, bad the greatest part to play, for music and

colour, though far less than in the past; still make their appeal in our great churches. Mr. Masefield had undertaken the incredibly difficult tasx of finding words sufficiently exalted and line to be spoken and sung without disharmony- in a place flint is glorious with the age-long tradition of English holiness. He has acquitted himself with credit. His play is elevated in thought, and gives simply and sincerely fresh expression to. the eternal problems of the soul. The Hood of peoplezf>oll red into the sun-lillcd nave.- Still al! radiant, alt golden in'the colour of its stone, the place compelled the mood of worship. The play was performe.’ at the cast end of the nave, with the choir-screen at its bnekjyound. "fere are three tiers leading up to Hie choir—the way trodden by pilgrims in past centuries — •nid between each of them a broad platform. This made an . incomparable stage for a religious pageant, with the great proscenium,' arch, the

full width of the nave steps projecting in front of it like an apron-stage, and above them the .successive tiers tor the descent of angels. Behind all this the wonderful sculptured screen, with Its single curtained door that opened at solemn moments to disclose dimly the splendour of Ihe t' oir. where the *sun came coloured through the it indows and stained in patches the lofty vault. It was a perfect setting, and, very wisely, it was not spoilt by any attempt at scenery. No secular stage manager could desire anything better in its provision of exits and entiauces.

The note of high solemnity was struck at the beginning. Mr. Masefield. greatly daring, has set his prologue in heaven and intriduced his play witli blasts blown by the long, gleaming trumpets of the angelic hosts The trumpeter, dressed by Mr Charles Ricketts with due fantasy, rang bis golden call through the golden nave and departed. Three angels. "The Power.” ‘The . Sword." mid “The Mercy." clad in some shining golden stuff, now appear, and soon follows a figure all in whit* the Christ of popular art. crowned and hieratic. Willi him the angels converse in simple verse, counselling him -the Spirit ‘of Christ—of the -perils that

await the high adventure of taking on flesh.- Thus "The Bower says: Leave man to perish, He is but dust of death upon tbe way Passed by our bright eternities. Anima Christi: O you I'owers. Might, not my coming light a way for men . , From earth’s unhappiness to very Gott. 'l’o those high presences enter the sh ines of I’etcr and I’aul with prophetic speeches, and the argument, proceeds to the close, when the Spirit of Christ declares: "I lay aside my glory and mv power to take up manhood. The clioirs of the heavenly host, for whom Mr. Gustav Holst has written soaring music, take up the tale, the singers were hidden in the gallery over the choir screen. They play the part of ’the chorus in n Gt'eek play, ami after the wraith of Christ has gone with wistful words! on his lips they sing a Joyful lyric calling on all created tilings to sing “as thrushes in the winter lift their ecstasy aloft among blackboughs. ...” • .The action now shifts to earth, from the transept, which may lie supposed to typify the world, as the choir the heavens, the Three Kings march on the stage gaily attired tis in a Renaissance picture, with a retinue of mail-clad warriors carrying lances. Mr. Mase-

field’s treatment, of the legend of the Three Kings is interesting. He makes them the embodiment, of the methods of governing men that, are to lie made obsolete by Christ —Balthasar tbe tyranny of war, Gaspar that of wealth, Melchior the pride of pagan wisdom. Each splendid King declares his creed and his faltering faith in it. now that Christ is coming, in wistful lyrical measures. Then follows what in the mediaeval mystery was often an interlude of sheer fooling—the rustic humours of the shepherds. Here Mr. Masefield has dared to be human, and with the happiest results. The talk ql "Rocky.” "Sandy.” and ‘‘Earthy” was perhaps the best thing in the play. These rustics have been to th' 1 Great War and come back disillusioned. What we want," declares Sandy (a figure like an Eliza, ethaii clown), "is a good revolution." to which Earthtv Communistically agrees. "That s all. Till a man has his due. let tbe many be starved by the few." The shep-

herds grumble as their kind has always grumbled: -bey are full of harmless superstitions and comic revolt. but their heart, is .in the right place. The poet handles his rustics tenderly, as if he was glad of a respite from tile strain of finding words for inexpressible, unspeakable things. He is on his own. ground in felling the “cruel, hard shame" of the world's slaves.

After this the solemn pageant of the Nativity is unfolded. There is a beautiful chorus for the uujjcls sinning the

praises of God “Who brings into the dark of human life this shining spark”, the clear voices fill the whole amplitude of the nave with cheerful lilting strains. The JKUigs return and tell of the weariness of the.search for the Saviour-King who is to change "the world's sold way." From angels A'iad in robes of exquisite blue they hear the glad tidings. The climax to the play came in silence. The curtain was drawn aside and in the Gothic arch leading into the choir was seen the Mother of Jesus seated in a litter with the Child on her knee. The blue-clad angels attended upon her. 'This was the finest pictorial effect in the mystery—the imm bile figure enthroned at the top of the long flight of steps and around and below the figures of gold-clad "Powers,” picturesque kings and russet shepherds. Into this chorus of solemn presences the poet in the ode that was sung by the angels brought in voices of the fields and woods, “The Blackbirds First Cry” and “The Crying of Cocks as the Thorps Awaken” all combined in a hymn of welcome to the light. The Kings make their offerings in verses w'hose easy tripping motion is meant to express the happiness of discovery. The simple lines put into the mouths of the shepherds as they bring their gifts are exquisite, to my mind the best poetry in the play. This scetie of adoration', is such as has not been seen in an English catihedral in modern times, perhaps never before. Poet, artist, musician, and actors were cooperating in an almost, unprecedented act of worship. A false note would have been terrible. Happily all was harmonious, all was remote and austere. The'set scene grouped at the top of the steps broke up and a rich pageant closed the play. The shepherds took up the litter and carried the statue-like figure down to the level of the nave, and the hierarchy of kings and spiritual beings followed after. 'The audience was invited to join in the singing of the final chorus of shortlined triumphant stanzas proclaiming the Redemption, but few had the courage to do so. , After the bright-hued throng had disappeared, still singing, the last words were spoken by the mysterious “Powers” as they stood high and solitary on the choir steps. These strange conceptions are Mr. Masefields chief addition to the dramatis personae of the mystery play. Last, of nil the “Power of God,” a tall figure all gold, was left alone to say the words: Bow down and worship, one and all,

Our Father for this thing. The trumpeter advanced, and. raising his long I rumpet, sent a lively shower of notes down the nave. The play was over. ’ 1 should add that this mystery was a -ommunal effort of Canterbury and therefore in the true mediaeval tradition. With the exception of some singers from London all who took part -iheir names arc not announced — were local folk.