Children of Israel, a play in three acts

Front matter

The T)rama league Series

A PLAY IN THREE ACTS

TRACY D. MYGATT

Introduction

By CLARA FITCH

CHAIRMAN OF THE RELIGIOUS DRAMA COMMITTEE OF THE DRAMA LEAGUE OF AMERICA

Religious Drama is quickening the spiritual life of communities to-day as it did in the early days of the Church. The revival of this form of drama at the close of the World War was suggested by the Drama League of America as a means of carrying over into everyday life the awakened conscience of the people. A Religious Drama Committee was called by the League to discuss the subject in the broadest use of the term, the aim being, to secure plays of Biblical and ethical value, plays capable of stimulating high ideals. As the supply of such material was inadequate the League held a religious drama prize competition to secure worth while plays, and to arouse interest in the subject. The result was satisfactory and valuable material was gained. Selected plays from this competition are to appear in a Drama League Series, ^'Children of Israel," the title of this volume, being one of the series.

Churches eagerly adopted the League's idea of utilizing drama in church work, realizing that the Church alone does not offer the balanced recreation that people crave, and that the art of the drama appealing to the triple nature of man is of inestimable value in supplying this need. The movement has grown so rapidly that it will be necessary to correlate the work of the Drama League, various churches and organizations working in the field of religious drama, that effort may not be duplicated and that the high ideals for which the League stands may be maintained.

If religion is to be taught through dramatics, an able leader is essential, one who is not only fitted mentally but spiritually. Such a leader must know that simplicity in stage set and cosviii INTRODUCTION

turning is desirable, that the actors should lose themselves in speaking the lines of the play, and the audience cease for a time to be conscious of present-day reality.

"Children of Israel" is a Biblical Drama in Three Acts. The principal characters of the play are Moses; Miriam, his sister; Aaron, their brother; Zipporah, Moses' wife; Dathan, a Hebrew slave; Pharaoh, King of Egypt; and Thermuthis, his daughter. The ancient theme of the bondage of the children of Israel in Egypt is skillfully handled and makes a strong appeal; the style is vigorous, and the delineation of character excellent. Occasional humorous passages contrast forcibly with the tragedy of Thermuthis and the prophetic vision and fire of Miriam. The dramatic situation offered by the plague of thick darkness is strongly developed. Historically accurate is the Passover scene and the religious symbols are used reverently.

The play is bound together by the forward gaze of Moses and Miriam, which is the keynote of their power over the people.

SUGGESTIONS FOR STAGING ** CHILDREN OF ISRAEL" FOR AMATEUR PRODUCTION

ON CHURCH PAGEANTRY AND DRAMA OF THE EPISCOPAL CHURCH OF AMERICA

While Miss Mygatt's "Children of Israel" would show to best advantage in presentation by a cast of good professional actors with settings arranged by fine professional designers and technical directors, the drama also lends itself to production with a nonprofessional cast of well-trained amateurs under a good director in the amateur field who is not only a competent coach but who understands the technical problems of staging, costuming and lighting.

For production in the field of Community Drama, where facilities for staging are often inadequate, the play can also be used if certain suggestions are followed.

The text in the professional copy calls for extremely delicate interpretation dramatically and scenic effects of great beauty but difficult to carry out under the usual conditions found in the average community.

These difficulties may be overcome if some of the scenes be adapted or omitted where the omission does not break the dramatic sequence; and the staging simplified as much as possible into a mere background, leaving the color, lighting and costuming to give historic and symbolic verity to the story.

There are certain conditions upon which the dramatic movement depends and these conditions must be fulfilled. For example the development of the mystery element in the play depends on the lessening of light and the glow of the Pillar of Fire;

X SUGGESTIONS FOR STAGING

therefore it is necessary to produce the play under artificial light, and this precludes any day performances out of doors.

The accuracy of the place and the period in a simple production must be conveyed visually entirely by the costumes and properties. Therefore the director of a presentation of "Children of Israel" for the Church or for the Community by nonprofessionals has three definite problems on the technical side which he must reduce to the simplest representations for his purpose.

The first is costuming. This difficult work can be made a most interesting feature if the art forces of a community are called to his aid and a workshop established where the costumes may be designed and made. If a knowledge of how to use brilliant dyes is the possession of the director or one of his helpers, inexpensive materials can be made to take on the glory of oriental splendor — and if a knowledge of applied decoration, stenciling, and block printing batik is also the gift of some helper, the costume problem is solved.

The second problem is setting in its simplest form, with the properties and furnishing necessary to the dramatic action.

The play may be played without drapes or against a background of drapes — two or three, set at sufficient distance from each other to allow the setting up within the inner space of certain set properties such as Pharaoh's throne. When the outer curtain, which should be in two pieces, is drawn apart, the inner setting is shown. When drapes are not used properties may be placed by attendants in costume of slaves. For a performance out of doors large screens may be used, which could be placed and taken away by attendants in costume.

The third technical problem is the lighting. The effects required by the play may be obtained with the use of simple flood lights on a dimmer and, if necessary, a strip of hooded footlights. These lights may be rented or they may be made by any electrician according to simple directions.

PERSONS OF THE PLAY

Moses

Miriam, his sister

Aaron, their brother

ZiPPORAH, Moses' wije

Gershom 1 ,^ , - ...

T. > Moses chudren

Eleasar J

Dathan, a Hebrew slave

Pharaoh, King of Egypt

Thermuthis, his daughter

ZiTYNE, maid to Thermuthis

Epiphras, an Egyptian messenger

Batinas, a taskmaster

NicoRDioN, his brother

Chief Magician

1ST Musician

1ST Torchbearer

1ST Guard

2ND Guard

A dancing-girl; ladies and gentlemen of the court; soothsayers; magicians; guards; a torchbearer; Hebrew slaves; servants; Egyptian task-masters.

time: Before the Exodus place: The City of Rameses

act i: a Street in Rameses