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Tuapeka Times, Volume VII, Issue 335, 4 March 1874, Page 4

ST. PATRICK'S SCHOOL. mHE Historical Tale of FABIOLA JL (dramatised), will be performed in the Schoolroom by Children attending the St. Patrick's School, Lawrence, . On TUESDAY, 17th MARCH, 1874, * . ' At eight o'clock p.m. ,y Admission ss. DRAMATIS PERSONS. Tertullus, Prefect of Rome Master E. Conway Fabius, a Roman nobleman Master F. Monaghan Fuxvxus, a Syrian sojourning at Rome Master M. Tullt Sebastian, an officer of the Imperial Guard (Christian) Miss E. Nash Panoratius, a youth, son of Lucina (Christian) Miss M. Bowes Corvinus, son of Tertullus Master H. Mooney Quadratus, a centurian in Sebastian's troop (Christian) Master E. Conway Calpurnius } friends of C Miss K. Flynn Proculus j Fabius ( Miss X, Spears Nicostkatus, a magistrate Master A. Harte Tranguilltnus, father of Marcus and Marcellianus Master F. Monaghan Marcus ") eons of "Tranguillinus Marcellianus j (Christians) C Master M. Fahey I Miss M. E. Fahey Diogenes, an old man employed iv the Catacombs (Christian) Master F. Lyons Claudius, a gaoler Master P. Curtin Catulus, a headsman Miss Sarah Mills Hermann, or Arminius, a sentinel Miss K. M'Goldrick Diontstus, a' priest and physician (Christian) Miss A. Tully A Pedagogue Master P. Curtin Lucina, a Roman matron (Christian) Miss S. Mooney Fabiola, daughter of Fabius Miss S. Mooney Agnes, a young- lady, kinswoman of Fabius (Christian) f Miss A. Gregan ( Miss J. Kellaher Emerentiana, a child, foster-sister of Agnes * Miss A. Kelleher Zoe, wife of Nicostratus Miss Julia Driscoll Marcia, wife of Tranquillinus Miss K. Spears Afra Miss E. Mahsden Graia Miss M. E. Fahex Syra, afterwards Miriam (Christian) y ' # Miss B. Cleary Lictors, Guards, Soldiers, Prisoners, and Attendants. Pianoforte Duet, "Masanolo~^~ Mrs. Conway and Mis 9 Langley Song Mr. Ford Duet, " Hearts and Homes " ' " Mesdemoiselles Tully and Mooney Seene — Rome and its neighborhood. Act I. Scene 1. — The Christian household of Lucina, mother of Pancratius, afterwards St. Pancras, a martyr at the age of fourteen. The scene is laid on the last day of his school course, and represents him on his return to his anxious mother. He narrates the occasion of the delay which has alarmed her, and his difference with his schoolfellow Gorvinus, son of the prefect Tertullus, which forms the origin of the hatred with which Corvinus afterwards pursues him, and which has its issue in his martyrdom. St. Pancras was torn in pieces by wild beasts in the Flavian amphitheatre (or colosseum) at the beginning of the fourth century. The scene ends with the dedication of Pancratius, by the gift which his mother, Lucina, makes him of bis martyred father's blood. Scene 2. — The heathen household of Fabius, whose, daughter, Fabiola, a lady of gi'eat -talents and accomplishments, but sceptical on her -own religion, and ignorant as yet of Chris-tianityj-has just completed her preparation for the evening's banquet, and discourses with her slaves, whose several countries are indicated by'their names. Afra,'. the black African slave, is famous for her skill in the composition of drugs and dyes. Of these, the least pernicious are cosmetics, one of which ] • she has just completed for the adornment of the person of her mistress — a black dye for the eyebrows. Graia has her qualifications also as a needlewoman and embroideress. These two heathen slaves are forward in their self -commendations and their flatteries. Syra, the Christian slave, declines to have recourse to these arts, and for her honesty of speech falls under the anger of her haughty mistress, and receives a wound from a stiletto, an instrument employed by the heathen Roman ladies for the chastisement of their slaves. The second part of this scene introduces us to the Lady Agnes, who, like St. Paneratius, is 'an historical personage ; — no other than the great St. Agnes, the girl-martyr, who vindicated her virgin innocence and her faith at the cost of her life at the early age of twelve years, and at the period of history at which the scene of our play is laid, the beginning of the fourth century. Scene 3. — The conversation of Fabius and his guests before the banquet. At the close of it, Agnes gives vent to those expressions of tender devotion to her Lord and Saviour which are attributed to her by ecclesiastical tradition.- They are naturally mistaken by the heathen Fabius for a declaration of some "human attachment, and he supposes the object of them to be the Syrian stranger Fulvius. Pianoforte Duet, Palermo Quadrilles Mrs. Conway and Miss Mooney Duet, "Cinderella" Mesdemoiselles Langley and Tullj Act 11. Scene I. — SJebastian, who has already apappeared at the banquet of Fabius, and drawn forth Fabiola's approval by his noble sentiments, is here represented in conversation •with his friend Pancratius, and as anticipating the persecution under which both he and - Pancratius shortly, afterwards earned the crown of martyrdom. Scene 2. — The heathen slave Afra plots with Corvinus, the malignant schoolfellow of Pancratius, for the destruction of the Christians. "It apjpcarß.th.at poisons are among the . drugs for which Afra is celebrated. Scene 3.— Syra, now become the property of. Agnes, refuses" to ' leave the service of Fabiola, and declares her purpose of striving, even at the sacrifice of hex life, for the conversion of her mistress. ' ' -" Scene 4. — Corvinus and Fulvius, in conver- - Bation, are joined by Fabius, who raises the hopes, of Fulvius by reporting to him the expressions of Agnes, whose meaning he has misconceived, | ■ Scene 5. — Sebastian, according to a resolution expressed, to Pancratius at the close of scene 2 of this act, visits the brothers Marcus and Marcellianus in their imprisonment, and receives their determination of dying for the " Christian faith. His visit leads to the conversion of the father and mother of the youths, as well as of the magistrate Nicostratus and .his wife JZoe, who is suddenly re•tored by the prayers of Sebastian to the use of speech.. ' . Scene 6 represents the consecration of Agnes and Syra to the state of holy religion. Pianoforte Duet, "Martha" Mrs. Conway and Miss Clark Song,' "'Pretty Flowers " - • Miss Langley Bong . .— , • * ' • Mr. Ford .. Act 111. Scene 1. — Fabiola discourses with Syra>. to whom she has been fondly attached since the