Nativity Play

Sun (Auckland), Volume II, Issue 541, 19 December 1928, Page 13

Nativity Play

Producers Inspired by Work of Old Masters ADMIRABLE PRODUCTION The Virgin Mary of the Nativity play presented at St. Paul’s Church last evening might have stepped from Raphael’s “Sistine Madonna." Her almost ethereal beauty, her blue robe and her simple yet dignified bearing reflected the loveliness of the central figure of this famous picture. The of the series ol’ tableaux vivants, representing the ‘‘Drama of the Nativity,” had evidently gone to the old masters for their inspiration. The costumes were a faithful representation in colour, and the groupings were identical with many of the best-known pictures of Biblical history. The whole series was done with the utmost simplicity and a dignity and reverence essential to a church presentation of the birth of the Saviour. The Nativity play is comparatively new to Auckland, though as far back as the 10th century plays of this kind were performed in Kurope. The purest type of Nativity play is the Passion Play of Oberammergau, which Is performed every 10 years in Bavaria. No more beautiful setting could have been chosen than St. Paul’s Church. The subdued atmosphere, the organ music (some of which had been specially written for the play by Dr. W. I'. Thomas), and the reverent attitude of the large congregation made the presentation more a dramatic sermon than a play. This was the object of the Rev. Cecil A. B. Watson, vicar of St. Paul’s, who asked that the tableaux vivants be made a real service. The congregation could try to realise, as each scene was presented, what really did happen over 1,900 years ago. Those attending were not to expect a spectacle nor were they to witness the presentation with any spirit of criticism. An improvised stage had been erected in the chancel. Transparent dark blue gauze drapings assisted the players to obtain the necessary effect of mystery, and only the simplest stage furniture was used. Hymns and carols were sung by the congregation at the conclusion of each episode. The whole presentation was redolent of the sacred purpose of a Nativity play. There were seven scenes or episodes in all: “The Annunciation,”

“Arrival at the Inn," "Announcement to the Shepherds,” “Arrival of the Magi at Jerusalem,” “Adoration of the Magi,” and “The Altar, the Centre of Christian Worship.”

The Inn scene and the Magi at Jerusalem were two of the most beautifully grouped episodes. Brilliant colours, admirably contrasted, were given additional prominence by the dim background. The final episode, symbolising the change from the. Hebrew to the Christian form of worship, began with a procession through the body of the church and ended with all the players grouped before the altar.

The Rev. Cecil Watson and Mr. W. J. Crowther were responsible for the general excellence of the Nativity Play and its presentation.

The play win be repeated again on Christmas Night.