University of Santa Clara - Redwood Yearbook (Santa Clara, CA)

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THE REDWOOD during the week of May 27, 1901, at the celebration of the Golden Jubilee of Santa Clara College, the pioneer insti- tution of learning in California. It was written by Clay M. Greene, an alumnus of the Class of 1868, and he, the original native son of San Francisco. On this occasion Mr. Greene assumed the role of Dathian, emissary from King Herod to Bethlehem. So pronounced was the success of the play in 1901, it was re- solved that it should be revived at in- tervals. It enjoyed a second season in 1903, and was in rehearsal for its third season when the terrible disaster of 1906 paralyzed for a time the spirit and energy of the people of the Pacific Coast. The greatest success of all was the triumphant reproduction of the play during the week of May 13, 1907. The costumes were historically correct; the scenery and appointments rich and of great beauty; the music, delightful and dramatically appropriate, was a fitting accompaniment to a play that was in conception and execution an epic poem. The electrical effect was briUiant and startling and the crowning achievment — an inspiration — so quickened the im- agination of the spectator that an emo- tion akin to awe was awakened when a mysterious light, glowing softly in the wings of the stage heralded the approach of the Redeemer, whose radiant body was never for a moment visible to the breathless audience. One could but look and wonder at what seemed something akin to a miracle. Even on the way to the Cross, the agonizing ascent of Calvary, all that took place during the tragic pilgrimage was suggested; the Apostles crouching, grief-stricken, by a closed gate in a wall beyond which the howl- ing and raving mob passing slowly by, while above it appeared the helmets and plumes of the mounted centurions, the weeping and wailing was heard, and the tips of the waving palms in the hands of the followers of the Christ; and then just the upper portions of the Cross borne upon the bleeding shoul- ders of Him who was to sanctify it with the sacrifice of His body; then the moment of faintness when the Cross fell and the stoning of the Divine victim by the mob that followed after! I venture to assert that this remarkable scene, so appalling in its suggestiveness, yet so reverentially veiled from the flooding eyes of those who witnessed it, has never been equaled in tremendous effectiveness on any other stage. At least three of the original cast of the Passion Play appeared in its third production. The Judas of John J. Ivan- covich holds its own in comparison with the best impersonations on the modern English stage. James Bacigalupi and Michael Grifiith appear also for the third time and with others in the cast assume their parts with all the ease and self-possession of professionals. They have the art, also, but ' tis an artless art that is guiltless of affectations, and lends to the production a charm that one sel- dom finds in the theaters of the day. Over two hundred students were em- ployed in the representation of Naza- reth. With them it was indeed a labor

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THE REDWOOD ingenuous audience refreshed itself dur- ing the long and tedious acts — there were eighteen of them — with the un- disguised consumption of pretzels and beer. At the Grand Opera House, San Francisco, where the cast — which was unannounced, though the chief per- formers were recognized by old play- goers, especially the ' Christus, James O ' Neil, |of Monte Christo fame — there was the art of the professional and the theatrical atmosphere which is inseper- able from it. It was the refreshing art- lessness of the students of Santa Clara College who filled every role in the beautiful play and alone deserve the credit for its perfect production, that went straight to the heart and thrilled it with unwonted emotion. The players were all youths, some of them were children. For more than three months Nazareth had been in rehearsal. No classes in the college course were interrupted in all that time. At the close of the evening study hour, or during the half-holidays, a portion of the play was carefully rehearsed. Thus, day by day, and week by week, each grew into his role and it became a part of him. I overheard a protestant clergy- man who was present at an afternoon performance of the play, say: I do not see how it is possible for these young men to enter into their parts as they do with so much earnest- ness and reverence; and recite their scriptural lines with such conviction, without its having a marked influence upon their character hereafter. It was all very real and very sympa- thetic to me. I cannot believe that it was because I was taken behind the scenes and introduced to several of the actors; or my love for the college and the old Mission church and all who are in any way associated with either, that has prejudiced me in favor of the play and the players. I believe that the majority of those present were affected as I was, seriously and profoundly. Of course, I knew what perhaps very few people in the audience knew, that before the curtain was drawn aside each mat- inee and evening the whole company was assembled on that stage, and, as with one voice, they uttered an earnest prayer to Saint Joseph for the success of the play. ' Thy special favor we now implore for success in the coming Pas- sion Play. This, with the versicle re- peated seven times over, in honor of the seven joys and sorrows of Saint Joseph, and a concluding prayer, pitched the key-note in a harmony almost celes- tial. Then appeared before the curtain two heralds who blew one long note upon their golden trumpets, and with- drew. These heralds looked as if they had stepped for a moment from a picture by Fra Angelico. The six court pages were such angelic children as Fra An- gelico alone could paint. Indeed, in the careful selection of the cast each was physically fitted to his part and had no word been spoken, but the whole been merely a series of tableaux, these, with the musical accompaniment, would have made the ensemble perfect. Nazareth, the Passion Play, was produced for the first time on any stage,

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THE REDWOOD of love, a veritable act of donation. One could not help realizing this during the action of the Passion Play. It was as unstagey as possible. A student with his assistants managed the business; a student painted the scenery; one of the professors, the Rev. Richard H. Bell, S. J., and his pupil manipulated the switch- board and electric spot and flood lights, students were ushers, students were the scene-shifters, students were the actors — in fine, a student had the entire stage direction, his name — Martin V. Merle, ' 06 — has already become well known throughout America on account of the wonderful success of his sacred play The Light Eternal, which he wrote at the college during his Sopho- more year. Whatever proceeds were in excess of the enormous expenses of the produc- tion were this year handed over to the building fund of the new and greater Santa Clara College. Already six hun- dred acres of land have been purchased for this new site. This land extends from the suburbs of the town of Moun- tain View to the summit of the foothills bordering the western side of the Santa Clara valley. The college itself, which will cost at least a million dollars, will be erected on a beautiful knoll covering half a square mile in area. A more ideal spot for such an institution could hardly be imagined. In the rear, rises a pictures- que, well-wooded mountain range, abounding in shady walks and refresh- ing trout bearing streams. Here the students may take their daily ambula- tions even during the rainy season. An hour ' s climb from the college will bring you to Permanente Peak from which a sublime view of the Pacific may be had. Stretching out before the future college lies the fertile Santa Clara val- ley. The statelyibuildings of the neigh- boring Stanford University will be easily viewed from the front portico; to the north may be seen Menlo Park, Palo Alto, Mayfield and Redwood City, su- burban towns, among the live oaks, to the northeast stretches the bay of San Francisco, while Mount Diablo and the observatory-crested Hamilton frame a gorgeous panorama that will constantly delight the eye of all students and vis- itors to the famous college. A natural basin has been recently discovered in the neighborhood of this superb site, where it is the dream of the Jesuit Fathers to build an open amphi- theater for the future home of the Pas- sion Play which periodically, even as at Oberammergau, may attract thousands to the edifying spectacle. The play, with its four epochs and nine chapters, is highly original in con- struction. It is written with singular reverence and the delicate treatment of the theme is unlike that of any other Passion Play familiar to the stage. Though much of the action of the play takes place in the very presence of the Divine central figure. He is never for a moment visible, but His presence is made manifest by a nebulous light that seems to emanate from a spiritual body too exquisitely refined to be visible to a worldly eye. The effect is startlingly