The Passion Play that is performed in Oberammergau every ten years is well known. What is not that well known is that the Durban Catholic Players Guild performs a shortened version of the original script every five years. My saintly uncle Jude and aunt Martha were involved for many years, so it was inevitable that my family would participate in a production while we lived in Durban. And so it was that Mother Superior and I, with our three children took part in the 1987 Durban Passion Play.
The Durban Passion Play was (and probably still is) a massive production, done in conjunction with the Durban City Council. It was performed over two weeks in the Durban City Hall and attracted audiences from all over the country. It had a cast of over 100, with the majority being in crowd scenes. While it was an amateur production, it did have a number of fine actors in the major roles, particularly that of Christ.
I was 34 at the time, so I was about the right age for the lead role, so I auditioned. Naturally, I did not get the part, but I got a small speaking role as one of the Sanhedrin. I think I had about three lines in all. Mother Superior and our three children were part of the crowd, with Mother Superior also being one of the wailing women.
Being in the Passion Play was a huge commitment. Rehearsals started six months before the opening night. Those with speaking roles had to go every Thursday night, while everyone had to be there every Sunday afternoon. Those Thursday nights were very tedious. I would spend most of the time waiting to say my three lines. Some of those with large parts could get quite petulant and throw tantrums. The director was a rather severe woman, who only spoke directly to those who had major parts. She communicated her displeasure or otherwise to those with minor roles, like me, through her underlings. I was absolutely terrified of her.
The Sunday afternoon rehearsals were somewhat better because I had Mother Superior and the children with me. It was generally chaotic because of the large number of people, and we had to rehearse the crowd scenes over and over. For six whole months our Sunday afternoons were tied up with this. Mother Superior enjoyed it because she met a few people, and they were generally a nice crowd. There were a few eccentrics among them with delusions about their acting abilities, and there were some outright nutcases. Of course our dear aunt Martha and uncle Jude were there as well. They were old hands at it.
The men in the cast were encouraged to grow their hair and beards to add authenticity, so eventually we looked like a group of hippies.
As we got closer to opening night, we moved into the City Hall, where the fun and games started. The main body of the cast was given the vast basement as a communal dressing room, while the upstairs dressing rooms were allocated to those with speaking parts. Mother Superior and the children ended up in the basement, while I got a dressing room that I shared with about 20 other men. Some of the main cast members threw significant temper tantrums as they laid claim to other rooms. Some argued that they were so important that they did not have to share with others. I was quite happy with where I was placed. I spent most of my off-stage time in the basement anyway. The basement was set up like a refugee camp, with dining and crèche facilities being brought in.
For the dress rehearsals and performances, we had to arrive two hours before the curtain went up. As most of us were of fair complexion, two inflatable paddling pools were filled with brown colouring for us to darken all exposed skin. We also had to submit for inspection from the director’s assistants to make sure that we did not have modern jewelry and wrist watches on. After that we had to report to a make-up person to have our stage make-up applied. Mother Superior had managed to acquire some water-based stage makeup, so she applied mine. It was so easy, at the end of a performance, to just shower off my makeup, while others were dabbing at their grease paint with liquid paraffin soaked pieces of cotton wool. The one drawback was that it could run if I got sweaty.
When I was a child, my parents took us to see the Passion Play. Uncle Jude was in it in his usual role. Aunt Martha was also in it, but we did not know her back then. I remember that they had young girls as narrators and the Durban City Orchestra provided the music. For our show, the narrators and orchestra had been replaced by a booming recorded voice and recorded music. Apparently, they had decided to dispense with the orchestra because some of its members were quite mercenary, and went home if the play was running over time. The booming voice was in a number of languages to cater for the diverse audience.
Because of the intense religious significance of the play, the audience was requested not to applaud. It was quite eerie to be on stage with a silent audience. However, it was the correct thing to do, and it added to the solemnity.
The play opened with a palm procession, which involved the entire cast, including the children. They, along with Mother Superior, were in a crowd waving palms that entered through the audience. I was on the stage as a member of the Sanhedrin, where I spoke one of my three lines. Muppet was barely walking at that stage but, on one performance, she broke free from Mother Superior and ran across the stage towards me yelling ‘Dadada”. A ripple of laughter went around the audience. The director was not amused.
After the opening scene, the children did not reappear. Mother Superior and I were in many of the remaining scenes, so Muppet was left with a baby sitter after Mother Superior bathed her in a wash hand basin and put her into her pajamas. Spiderman and Muti Man were both of Primary School age, so they were left to their own devices. They befriended the sound and lighting men, who were situated in a box high above the second gallery at the back of the hall. The boys spent most of their time there, and they really enjoyed themselves. They even decided to have some fun at my expense. There was one scene where a group of people were gathered around a fire in a courtyard, when I appeared to tell them to come inside. On one evening, as I entered the stage to deliver my line, I was startled by a flash of lightning and a clap of thunder. The boys up in the control box shrieked with laughter. I came very close to forgetting my line.
The most intense scene of the play was the crucifixion. It was very realistically done, with lots of fake blood. I was one of the ‘baddies’, but it was hard to remain stern. Mother Superior took it in turns with a group of fellow actors to be on the stage for this scene. She could genuinely cry. The audience also tended to get quite emotional. The cheaper seats on the top gallery were almost always full of black people who had been bused in from rural villages, and they got caught up in the sadness, openly weeping. I could feel vibes of hatred towards me as a jeered at the pitiful Jesus on the cross. It was very draining. One evening there was a sudden flash next to me, which gave me quite a fright. I was surprised to see that a photographer in the audience had actually come up onto the stage with his camera, and was flashing away. I was somewhat amused when he was promptly marched off the stage by two Roman soldiers in full regalia.
The final scene, the Resurrection, was beautifully done. The stone in front of the tomb rolled away to some dramatic music, and then Jesus appeared to rise in the mist. This was achieved with strategically placed lights behind a fine curtain and a smoke machine. The latter was quite temperamental and did not work at every performance. Many of the cast sneaked into the back of the hall to watch the scene.
It was a great relief when the play finally closed. We could at last get our life back. I saw it as a pilgrimage where the Easter message came to life for us. Many in the cast had taken pert for many years. My dear uncle Jude received an engraved crucifix to commemorate ten plays over 50 years. He gave this to Muppet who, to this day, has it hanging over her bed. Both uncle Jude and aunt Martha have since been called home to take their places among the saints. They were true instruments of God’s love and peace.
A few years ago, our family members were involved in a local Passion Play, No Greater Love, performed by the Simon Peter Players in Ocean Reef. This was a much smaller production, so I got the large part of Caiaphas, the High Priest. Spiderman was Saint Peter and Petal was Veronica, who wiped the face of Jesus. Mother Superior was again one of the wailing women. I had many lines, but the one I enjoyed the most was bellowing “He has Blasphemed”.
This was also a fulfilling experience, because it enabled members of our community to use their extraordinary talents to reveal the gospels in a meaningful way.
I feel privileged to have been part of these productions, and grateful to my wonderful family for experiencing them with me.