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The
Mysteries |
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Forgotten what Christmas is all about? By taking us through some better-known moments in the Bible, from the creation and Adam and Eve through to Jesus' resurrection, The Mysteries reminds of the true meaning of Christmas: long-winded epics on TV (or in the theatre), to doze in and out of on Boxing Day afternoon. It is an ambitious production, with forty or so actors, many with several roles, putting on nineteen famous set pieces. We begin with God in heaven, and then meet the usual suspects - Noah and Herod, Cain and Abel, Satan and Death. The tone ranges from Benny Hill-style romp as flat-capped geezer Mak steals the three shepherds' sheep, to the earnestness of the Last Supper and other scenes centering on Jesus. There is musical accompaniment along the way from a choir, thankfully kept to a minimum. But you can't help reaching for the Quality Street and left over sherry. The play says nothing new about Christianity, nor does it remind us of any contemporary significance since it is played so flat. The whirlwind format doesn't help. It is remarkable how such a rapid sketch of the Bible can feel so slow. We feel no special attachment to any of the characters since they come and go briskly, and since we all know the story, there are few reasons to keep watching. One reason is the variable quality of delivery the actors bring to their lines, though it would not be in the spirit of Christmas to dwell on the worst offenders. The outstanding presence is Alex Nicholls as King Herod, revelling in power with some enjoyment and vigour. Another highlight is the domestic violence between Mr and Mrs Noah, the latter giving as good as she gets, swigging from a bottle between blows as the tide rises. This scene, indeed, may mark the most relevant moment to yuletide in 2002. The Massacre of the Innocents barely registered, and one can sympathise with Cain for smiting the smug, unthinking Abel. Jesus was particularly humourless, at one point wandering into the audience to preach. His healing of the sick elicited no sense of wonder. As a piece of community theatre one cannot expect a lavish production, and the stuffed sheep representing the shepherds' flock was a knowing and funny device, but the mechanical tree of knowledge in the Garden of Eden, descending - eventually - to its proper height, got things off to a bad start. It is difficult to say who this play is aimed at. The script is too wordy for children, but since it has no original take on the Bible - in content or in style - neither the general public nor those of a religious disposition will gain much from seeing it. Perhaps it is for those who need to feel good about themselves, who will scold the less virtuous for neglecting the real meaning of Christmas. Pass me the remote. Ben O'Loughlin |