TABLEAUX PRESENTED TO PARISH

Bay of Plenty Beacon, Volume 16, Issue 34, 18 December 1950, Page 5

TABLEAUX PRESENTED TO PARISH

The old story and the greatest story, that of the Nativity of our Lord, can be told in many ways. Sermons can be preached, books may 'be written - but Wednesday night’s presentation of this story in the Parish Hall, in Tableaux form linked with appropriate scriptural readings, and carols sung by a well trained choir, gave a new meaning and added significance to the wellloved Christmas story. Symbolism which was the keynote of the production was achieved without a slavish adherence to realism, and with the restraint with which the characters were costumed.

Particularly was this noticeable in the Tableaux of the Holy Crib, from this Crib shone a bright light symbolising Christ, the Light of the World, which in the final scene when the stage, lights were extinguished, and also when Kings, Shepherds and Children surrounded the Crib in adoration, illuminated in symbolic form the whole world. A further link with the present, was provided by a Christmas tree, the joy of every home where children live, traditionally decorated, standing beside the Crib, preaching an unspoken sermon that no Christmas is real without Worship at the Holy Crib. The Angel Gabriel of this presentation had neither wings nor halo and represented the Gabriel of the English tradition. The loveliness of the Madonna being achieved by simplicity of costume and sincerity of mime. The first Tableaux ‘The Annunciation’ proved its effectiveness by the austerity of its presentation, the traditional lilies being particularly lovely. In the Tableaux “No Room at the Inn” restrained gesture and mime created a most moving atmosphere. The blue setting of curtains and tablecloth enhancing the blue of the Madonna’s costume, creating a spaciousness and coolness as a fitting frame for the entire production.

Clear Voices The clear voices of young people read scriptural preludes to each tableau, and the beautiful singing of a mixed choir providing a musical crown to the whole production.

From the first strains of “O Come, O, Come, Emmanuel” illustrating the yearning of the Jewish people for the long, awaited Messiah, to the last truimphant song, of .Praise to the Lord’ the music was fitting and appropriate. It was pleasing to hear plainsong sung with flexibility and restraint, the choir in this first hymn setting a fine standard of high musicianship, the balance, tonal and quality precision of the singing impressing the hearers greatly. The attack and entry demonstrating the care and attention given to the fine points of singing. The clarity of the words being a particularly pleasing feature.

In the hymn, ‘O Little Town of Bethlehem’ the choir achieved one of its greatest movements, for here was perfect blending of voices and sympathetic interpretation. It was unfortunate that choir and conductor were so cramped for space and this was responsible for weakness in pacing in one of the carols. Had this production been presented in a theatre the beauty of the music would have been heard to greater advantage. Both the standard of music and Tableaux more than warranted this.

Not all the carols were- well known; perhaps Whakatane people had not heard ‘Three Kings from Persian Lands Afar’ but the effectiveness of the solo against a hemmed background, of the chorale ‘How Brightly Beams’ sung earlier, served to link together both the session of the Kings and their findinf of the Christ Child.

Their entry through the hill, their reverent obeisance at the Holy Crib followed by the children and choristers with posies and candles, all combined to build up a memorable final Tableau, while the congregation sang O Come All Ye Faithful, followed by the soft and contemplative carol anthem of Woodford Davies “The Blessed Birth” beautifully sung by the choir.

Every available corner of the Parish Hall was packed with a silent and reverent congregation, but the overcrowding of the hall proved a disadvantage both to choir and processions. The leads were Jim Gray, Hugh Lovelock and Heather McNaughton. The choir of 36 voices was conducted by Miss V. A. Rucroft, the Tableaux being produced by the Rev. T. M. Loten.