APPENDICES

I. THE SCENERY

THE stage on which the play was acted was about four feet in height, twenty-four in width, and twenty-four in depth. It was furnished temporarily with footlights consisting of gas-tubing pierced by seven burners shaded with tin head-lights permanently fixed, two side-lights also permanent, and two incandescent burners behind the back-scene.

As substitutes for all these except the last, oil lamps are suggested, hung or standing and guarded with wire; for the last, a strong acetylene light.

The scenery throughout consisted of these things only—a permanent back scene, hung from a roller, constructed of opaque, dark, grey-blue paper pierced irregularly with very small holes; six wings, three on a side; two dark curtains hung on a wire to slide backwards or forwards across the back-scene, about a dozen dust-sheets and a quantity of brown paper and cotton-wool. (It must be remembered that the object was not to produce startling stage effects, but rather a soothing and suggestive background.)

These extremely simple accessories were employed as follows:

First Scene.—The curtains were drawn back out of sight altogether behind the backmost wings. The floor was entirely and irregularly covered with dust-sheets, and, to aid the appearance of irregularity, various objects, such as footstools and blocks of wood were placed beneath them. The wings were managed in this manner. Each of them was a light framework of about three feet in width and ten in height. One side of them (that presented to the audience in this scene) was covered with large sheets of brown paper of all shades, deliberately crumpled and bulging, and, here and there stained with paint. Upon the upper side of each irregularity was gummed a flat thick piece of wide wadding, following the curve of the paper, to represent fallen snow. These six wings, placed of course not parallel with the back-scene but slightly towards it, provided three exits on each side, two of which only were used.

Finally, the back-scene, painted with whitewash at its bottom to represent a distant line of snow-covered hills, hung full in view. All lights except the incandescent burners behind were turned extremely low; and the result of this elementary composition was a really astonishing effect of a snowy defile between rocks, seen at night time, with a sky blazing with stars. The light necessary for the seeing of the actors’ faces was supplied by the lanterns they carried.

Second Scene.—The curtains were drawn forward so as nearly to meet in the centre, giving a glimpse only of the back-scene which throughout the entire play remained in its place. The wings were reversed, showing their other sides to the audience. These reverse sides were covered with smooth yellowish paper, painted to represent large blocks of pale stone. The wings, it must be said, had no attachment at the foot, but the heads of them turned in iron forks, like the rowlocks of a boat, reversed and fixed to beams above at the proper intervals. One of the wings, that nearest the back-scene (R.), was painted to represent a tall door with iron scrollwork across it. Lights up.

Third Scene.—This was the same as the first, but the large properties used in this prevented a sense of monotony. Lights down.

Fourth Scene.—This was the same again, with other large properties. Lights half down.

Fifth Scene.—This was the same again with further properties. Lights up.

Finally, overhead throughout were hung ordinary “flies,” or long strips of cotton, as broad as the stage and about two feet deep.

II. THE PROPERTIES

Under this head it is proposed to describe chiefly those properties that needed actual construction. For all the articles used throughout, such as the table and stools in the kitchen-scene, it is enough to say that they should be as simple and rough as possible. They should be even rather dirty.

In the first scene there is no property used beyond those connected with costumes (to be described later) except the tree-stump on which the shepherd sits. This is simply a three-legged stool with a dust-sheet draped over it.

In the second scene, there is the fire over which the inn-keeper is cooking. A strong black bandbox was taken, and from it were cut out sections, supported by uprights, making it to resemble a road-mender’s brazier. On the floor of this stood a cylindrical candle-lantern with a burning candle within; and round this lantern was wrapped red flannel. Between the flannel and the bars of the “brazier” were inserted sticks at irregular intervals. The whole thing was placed on a three-legged stool, and a brown cooking-dish rested on the top.

In the third scene this fire figured again, standing on the ground. Most of the stage R. was occupied by the shepherds’ shelter, with room, however, left to pass both behind and before it. The shelter was constructed of a three-sided clothes-horse, about six feet high; and this was hung all over and roofed by pieces of old sacking and deer-skins. The opening was towards the audience. A hurdle, standing on end, projected above the roof.

The “lamb” was life-size, ingeniously made out of cotton-wool, with a cotton skin on which were painted eyes and mouth. It is wrapped throughout in a piece of sacking, so that no more of it need be finished than the head and front legs.

In the fourth scene the chief property is the crib. A box was taken about four feet long, by three by two, and set on one of its long sides upon a table. The whole of the box and table was then covered with crumpled and painted brown paper, resembling that fastened to the wings; straw was laid inside, and a silver lamp hung from the edge to the upper side. The starry sky at the back was variegated by a large hurdle projecting from behind the crib. The bambino was supplied by a well-known firm in London.[11]

In the fifth scene, from which the crib is absent, the principal property is the throne and dais. This needs little comment. The dais came from a schoolroom; and the chair was a very tall armless one of yellowish wood. Two tall mahogany candlesticks stood on either side upon the dais. The book used by the boy was a large leather volume bound by strings.

III. THE COSTUMES

Before treating these in detail, it is necessary to treat first the general principles that were followed.

These were:

1. That the drapery should be voluminous.

2. That the colours should be dark and soft.

3. That the dresses should be shaped after Eastern models.

4. That all such things as tinsel and spangles should be utterly eschewed.

Now the foundations of Eastern dress are the following:

1. The Tunic.—This is a long-sleeved garment resembling an alb. It may be of any colour, or white. In the case of young men and boys it is drawn through the girdle up to the knees.

2. The Burnous or Mantle.—This is more difficult to describe; but it may be constructed by taking a large rectangular piece of stuff, about four feet deep by six feet wide. Imagine this spread out on the ground. Then take the top corners and fold them in about eighteen inches along the top edge, folding in at the same time the whole length of the stuff below. Sew along the top edge only to right and left, thus making supports for the shoulders. Then cut at either side, near the top, in the crease of the stuff, two wide arm-holes. Finally, fix about eighteen inches down the front, on the folded stuff, a strong hook and eye on either side.

The Burnous, then, is generally worn simply as a wide and voluminous cloak, fastened by the hook and eye; but in the case of one or two the arms may be put through the holes. It should be made of heavy stuff, and should hang loosely and even clumsily. It may be variegated with effect by long strips of stuff or some other colour attached down the front of the folded wings and straight over the shoulders down the back.

3. The Girdle.—This may be of rope in the case of the poor, and of rich stuffs in the case of the rich. When the girdle is wide weapons may be thrust into it.

4. The Head-dress.—This is of two kinds:

(1) The turban proper, made of voluminous thin material wound round the head and tucked into the top.

(2) A large thin piece of stuff, made to fit the head by a ring of elastic on the inner side and flowing down behind over the shoulders and back.

5. The Foot-gear.—This must consist of sandals, with the addition, in the case of those whose skirts are worn to the knee, of voluminous stuff wrapped round the leg and tied there by cris-cross bindings of string or leather, or the material used by gardeners for tying up plants.

Now, if these principles are followed, the rest is easy. (The “Kings” and the “Angels” need separate treatment.)

1. Mary.—She wears a night-dress to her feet. Over this she wears a tunic of dark-blue muslin, also coming to her feet; a white burnous; a long white veil; and sandals. In the fifth scene she is, after the first fall of the curtain, robed in a white cope, and crowned. A sceptre is also put into her hands.

The crown was an imperial one, constructed of cardboard covered with crumpled gold paper, with strings of jewels and brooches, over a crumpled cap of dark-blue velvet. The sceptre can be made in the same kind of way.

2. Joseph.—He wears a white tunic to his feet, with heavy white or yellowish girdle; a dark-red burnous striped with white; and a white handkerchief over his head and shoulders. He is bearded and browed with grey over a stained face. [See below.]

3. Tobias.—He wears a dark-blue tunic with broad brown girdle, brown burnous and turban of “Rhodian” silk. He is girt to just below the knee, and wears hose and sandals. His face is stained and eyebrows darkened.

4. David.—He wears simply a short-sleeved dark-green tunic and cord girdle; hose and sandals.

5. Zachary.—He wears a long yellowish tunic to his feet, a brown burnous striped with white, a brown handkerchief on his head; and sandals. He is bearded and browed with grey over a stained face. [See below.]

6. Ezra and Ben-Ezra.—These are in short dark-brown tunics and are wrapped in deer-skins. If skins are not available, burnouses must be substituted. Ezra wears a red handkerchief on his head, and Ben-Ezra a white turban. They carry spears.

7. The Three Merchants.—These are all in long tunic and burnous of various darkish colours. All wear turbans and sandals, and Eliphaz a fur wrap. The stuffs used should be of better quality than the others, each of them wearing at least one piece of silk. Each has a broad girdle, in which is a knife or two. They may carry or wear beads.

Martha.—She wears a white tunic, falling half-way between knee and foot, and dark-blue burnous; hose and sandals.

Abel.—He wears a white tunic and deer-skin, with hose and sandals.

Herald.—He is dressed simply in a long girded white tunic and sandals.

The Angels.—These, as a foundation, wear night-dresses, girded. Over this each wears the dress of one of the three Greater Orders. The “priest-angels” wear crossed stoles; the “deacon-angels” dalmatics, and the “subdeacon-angels” tunicles. These garments are all made of voluminous white butter-muslin. They should wear no wings or spangles or colours of any kind whatsoever. Their hair is combed out at length over their shoulders. Two “priest-angels” carry drawn swords upright.

The Three Kings.—These must be dressed as gorgeously as possible, with any materials available; but the following points may be remembered with advantage. The colours used should be splendid, but not light or gaudy. (If, for example, light-blue is used, it is seen at once to be entirely out of scale with the other figures—heliotrope and purple and dark-red or green are far more effective.) Each should present one predominant colour. Each should wear, in addition to tunic and mantle, a long train pinned to the shoulders, edged with ermine. (Ermine is produced effectively by long strips of cotton wadding dotted with black stuff “tails.”) The crowns should be set inside or outside of voluminous turbans of silk. The jewellery worn by them should be heavy and effective and barbaric; for example, a twisted serpent of gold paper turned up the arm, or a heavy collar across the shoulders.

The Servant of the Kings should be dressed on the same lines, but without mantle or train.

Gaspar should be bearded and browed with grey; all four persons should be heavily stained on face and hands.

A suitable stain may be obtained from Mr. Peck, chemist, Trumpington Street, Cambridge, such as is used in the “Greek Play” at the University.

The beards used should not be the ordinary beards made in a piece. Hair should be obtained from a theatrical property shop, and affixed piece by piece with strong spiritgum. For those who wear beards a few lines upon the face are generally necessary to blend the complexion with the hair.

IV. THE METHOD OF ACTING

It must be remembered that the play does not attempt realism. It is full of deliberate anachronisms. To act, then, in a realistic manner would be to appeal to the eye in one key and to the dramatic perception in another. It was found therefore necessary during the rehearsals to insist again and again upon a certain conventionality in gestures and tones of voices. The actors were encouraged to be slow, to speak extremely clearly, and to make large deliberate gestures rather than spontaneous movements—to beckon, for instance, with the arm rather than the hand. (This method was, of course, that followed in the recent performances of “Everyman.”) On these lines it was found that the play occupied slightly over two hours.

Especially necessary was this system in the case of such characters as those of the “Herald,” “Mary,” “Joseph,” and the “Three Kings.” The “Herald,” standing outside the curtains, holds himself perfectly upright for the most part. When he bows, he bows low with both hands across the breast; when he signs himself with the cross, he slowly “envelops” himself [as M. Huysmans says] in his movement. The appeal of “Mary” also depends entirely (since she does not speak) upon extremely slow, dignified movements. When she swoons she remains motionless, sunk upon herself; when she moves, she does so with extreme deliberation; she looks for a long time at the character to whom she directs herself, before moving in his regard.

In the same manner, “Joseph” is lost always in a contemplation of “Mary”; his eyes are fixed on her; he keeps the same attitude for long together.

So, too, with the “Three Kings.” They carry themselves extremely upright, they make sweeping gestures, they chant rather than speak, they bow and genuflect slowly and profoundly. The “Children” only are allowed to be spontaneous, without being abrupt.

The character of “Zachary” is the most difficult of performance. He has to avoid prosiness on one side and passion on the other; “deliberateness” must be his watch-word. I am afraid he is rather a tiresome person; but he is as necessary as the Greek chorus, to whom he corresponds. He appears less tiresome if he is represented by a very tall actor who carries himself bent.

Those responsible, then, for rehearsals, must not be afraid of long silences in which little happens. The play is intended as a series of meditations rather than of dramatic situations and developments. Again and again, if the grouping is arranged upon a wide and semi-heroic scale, the actors will be found to fall into tableaux, which may well be looked at in silence. During the longer of these involuntary tableaux, however, music is sung or played.

Printed by Ballantyne, Hanson & Co. Edinburgh & London

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