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Tuapeka Times, Volume VII, Issue 338, 14 March 1874, Page 3

ST. PATRICK'S SCHOOL. rpHE 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. Admission ss. DRAMATIS PEBSON.B. Teetttllus, Prefect of Rome Master E. Conway Fabius, a Roman nobleman . Master F. Monaghan Fuivius, a Syrian sojourning at Rome Master M. Tully Sebastian, an officer of the Imperial Guard (Christian) Miss E. Nash Pancratius, a youth, son of Lucina (Christian) Miss M. Bowks Corvinus, son of Tertullus Master H. Mooney i Quadratus, a centurian in Sebastian's I troop (Christian) Master E. Coxwvy Calpurnius "£ friends of .C Miss K. Flysn Proculus ) Fabius { Miss K. Spears Nicostratus, a magistrate Master A. Hartb Tranguillinus, father of Marcus and Marcellianus Master F. Monaghan Marcus sons of Tranguillinus Marcellianus j (Christians) ( Master M. Fahey it Miss M. E. Fahey Diogenes, an old man employed in 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 DionysiuS, 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) CMiss A. Greg an \ Miss J. Kellaheu Eaterentiana, a child, foster-sister of Agnes Miss A. Kellkiier Zoe, wife of Nicostratus Miss Julia Driscoll Marcia, wife of Tranquillinus Kiss K. Spears Apra Miss E. Mars den Graia Miss M. E. Fahey Syra, afterwards Miriam (Christian) j Miss B. Cleahy I Lictors, Guards, Soldiers, Prisoners, and Attendants. Pianoforte Duet, " Masaniello " Mrs. Conway and Miss 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 j 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 Corvinus, son of the prefect Tertullus, which foi-ms the origin of the hatred with which Corvinus afterwards pursues him, and which has its issue in his martjTdom. 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 his martyred father's blood. Scene 2. — The heathen household of Fabius, whose daughter, Fabiola, a lady of great talentß and accomplishments, but sceptical on her own religion, and ignorant as yet of Christianity, 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. Pancratius, 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, PalermoQuadrUles .Mrs. Conway and Miss Mooney Duet, "Cinderella" Mesdemoiselles Langley and Tullj Act 11. • Scene I. — Sebastian, 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 appears that 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 her life, fjr the conversion of her mistress. Scene 4. — Corvinus and Fulvius, in conversation, 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, an well as of the magistrate Nifostratus and his wife Zoe, who is suddenly restored by the prayers of Sebastian to tho use of speech. Scene 6 represents the consecration of Agnes and Syra to the state of holy religion. Pianoforte Duet, "Martha" Mrs. Conway and Misa Clark Song, u Pretty Flowers" - - Miss Lungly Song jMj*. Ford Act 111. Scene I.— Fabiola discourses with Syra, to whom she has been fondly attached since tha