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CHESTER MYSTERY PLAYS. t

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CHESTER MYSTERY PLAYS. t

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play than in the two preceding. Herod is pic- tured as a ribald King, indulging in sulphurous language and appeals to Mahomet. He has little of kingly dignity. The Messenger who meets the Magi on their arrival in Judea is concerned to hear they seek another King. He accordingly administers the following warn- ing:— Hold your peace, sir, I you pray For if King Herod heard you say He would go wild, by my fay And fly out of his skin. Upon learning the object of the three kings, Herod is indignant and threatening. He attempts to terrorise them as follows:— I am the King of all mankind I bid, I beat, I loose, I bind. But he is distinctly alarmed. His bold, braggart front disappears with the departure of the Wise Men from Bethlehem- Out alas, what the devil is this? For shame almost I fare amiss, For was I never so woe, I wis. How the Magi found the infant Saviour-how they presented their gifts—and how the angel warned them to return to their country by another way to escape the treachery of Herod is a history familiar to all and fully dealt with in the play. The scenery for the three plays is the same throughout, and there is occasional music of the carol type. The costumes were copied from old plates, and lent a realistic touch to the scenes. Perhaps the most striking feature was the intense earnestness and reverence of the players coupled with the quiet and respectful attention of the large audience. But the whole thing struck us, after all, as being merely a play, entirely without influence in one way or another, excepting a feeling of regret that sacred history should ever be exposed to the risk of distortion or ever see the stage at all. The mueical numbers, which were introduced with pleasing effect under the supervision of Dr. J. C. Bridge, were as follows:—Before "The Shepherds' Play": The Shepherds' Trio, "As I outrode this enderes night," from the Coventry Plays. In "The Shepherds' Play": "Gloria in Excelsis," to traditional setting from Chester Plays, this being the only music now remain- ing; "Hee est ara Dei celi," to music adapted from the York Piaye. Before the play of the "Three Kings": The "Lullaby" from the Coventry Plays, "Lullay thou little tiny child." In the third play: The traditional carol, We Three Kings of Orient are." MR. BENSON INTERVIEWED. A RELIGIOUS AWAKENING. Among the audience at the afternoon per- formance of the Chester Mystery Plays were Mr. and Mrs. F. R. Benson, the well-known Shakes- perian actor and actress, who are this week giving a selection of the great master's plays at the Royalty Theatre. Yesterday (Friday) morning our representative had the pleasure of a conversation on the subject of the Plays with Mr. Benson. He found the tragedian in his temporary office at a private hotel in City- road, where he was courteously welcomed. Although busily engaged with the mass of work inseparable from the carrying on of a leading theatrical company, Mr. Benson at once agreed to enter upon the subject of his impressions of the Mystery plays. In answer to our repre- sentative's questions, Mr. Benson said: "I think the drama has suffered a great deal from the neglect of such elementary forms and methods as those used by the writers of the Mystery Plays. The revival of these Plays seems to point to two tilings, and one is the real awaken- ing on the part of the public to the value of the story our fathers have told us and the other is a real awakening on the part of members of the literary and dramatic professions as to the value of the forms our fathers used. The pageant, the mystery and the village play will undoubtedly give us, as they gave our fore- fathers before the creative chaos of the seventeenth century, a popular and easy means for the expression of the thought and feeling of the day. These revivals seem to me also to indicate the awakening of a larger national spirit among us." Mr. Benson preferred to speak of the Mystery Plays from an artistic point of view, but in response to our representative's endeavours to ascertain his views on the religious side of the subject, he 6aid: "No nation at its zenith was ever truly wise in its undertakings for to-day or to-morrow unless it occasionally viewed them in relation to yesterday. The Mystery Plays seem to betoken the growth of greater tolerance and gentleness among us, the revival of a broad- minded, work-a-day spirit of religion, and a renewed reverence and delight in the beauty of holiness and the holiness of beauty." In further conversation on the same lines, Mr. Benson, referring to the remarks just quoted, said That is one reason in the present day for the success of Japan and every other nation at their greatest. One element of Japan's effectiveness as a nation is her keen realisation of the to-morrow and hereafter." Turning from the general to the particular, our representative inquired what Mrs. Benson and himself had thought of the performance of the three Mystery Plays on Thursday. Mr. Benson said that both he and Mrs. Benson were deeply impressed with the Plays. He said: They were beautifully done. The players got the atmosphere of the old Mysteries, and the greatest compliment they received was the reverent silence of the crowded audience. As far as one can be a barometer in such matters, I think the great majority of those present had a feeling of reverence and quickening of their religious conscience." Do you think the whole cycle of the Chester Mystery Plays can be produced with equal success?" "I do think so." I

CHESTER MYSTERY PLAYS. t