'Acts of the Apostles' - An epic play

By Marcia Rowe, Gleaner Writer

A proponent of epic theatre once said, "we do not ask for an audience but a community, [nor do] we ask for a stage but a pulpit." Father Ho Lung and Friends seemed to espouse the same sentiments. They described their production of 'Acts of the Apostles' as "epic". And, as true proponents of that form of theatre they elevated the spacious National Arena into a place of worship, through powerful song lyrics, moving delivery and loud applause-reaction spectacle.

At the heart of the Fr Ho Lung, penned script and compositions is an illustration of persecution of Christians, according to St Luke, the author of Acts of the Apostle, in the Bible. But the playwright deviated somewhat from the ending of the book, as well as adding some characters of his own. Along with the familiar principal players such as Stephen, Peter, Paul and Anannias, he used poetic licence to incorporate the fictitious characters of a Roman named Claudio and his wife Lydia; a crippled woman, Susanna, and her young children, Pio and Maria, "to enhance and bring alive the St Luke's intention." But did he?

Opening day

The colourfully lit opera opened, on Saturday, with Claudio pining over the spreading of the Christian faith. The scene swiftly moved to the persecution of Stephen, who may be described as the first martyr in the fight for Christianity. Susanna accused Paul of committing the atrocity, and subsequently her life was threatened by the Roman soldiers. In spite of their lives being in danger, Peter continues to preach, and in a scene at the "beautiful gate" he heals the sick and the cripple, including Susanna. As a result of her healing she becomes more vocal in her faith, and a thorn in the sides of Saul and his soldiers for their persecution of Stephen. Unfortunately, this led to her graphic persecution.

Claudio and Saul's obsession with the persecution of Christians continued, although they were warned by Gamaliel to cease from doing so. But it was Claudio who first received a taste of God's hand when his wife, Lydia, became a Christian. Instead, he continued with Saul on the path of maltreatment of the believers in Christ. And in the case of Saul, not even a dream of hell persuades him to change.

It was in the fast pace and very spectacular Act Two that the familiar tale of Paul being stopped By God while on his way to Damascus, came about. And Saul, who became Paul, becomes a Christian. Ultimately, after the much preached about shipwreck by modern ministers, Claudio too becomes converted. And, he, along with Paul, feels the consequence to their acceptance of Christianity. The story ended with a somewhat lowered expectation heaven.

As expected from an opera, the story unfolds through songs and actions. The scenes flow into each other, after brief blackouts. For the most part, the performers, wearing organic-looking costumes designed by Denise Robinson, gave stirring renditions of songs in a wide variety of genre. Principal players Wynton Williams (Peter), Jean-Paul Menau (Claudio), Grace McDonald (Susanna), Leroy Palmer (Gamaliel), and Craig Walters (Paul) were moving in their delivery and characterisations. Young Joshua Lewis as Pio should also be mentioned for his clear and beautiful singing. But while the use of a deejay was commendable, the words spoken by the young female were not clear.

There were other problems within the otherwise uplifting and soul-stirring production.

Father Ho Lung could have had the characters repeating each other's names when they are being addressed and make it easier to follow the storyline. Additionally, while director Greg Thames, for the most part, placed and moved his large cast of approximately seventy actors to create beautiful stage pictures by fully utilising all levels of the P. J. Stewart-designed set, he may want to pay attention to his inexperienced actors' use of their downstage hands as they often close off their actions to the audience. Also, it is not clear why he blocked what is considered to be a very important scene, the conversion of Paul to Christianity, stage right and not centre stage which is considered to be the strongest acting area. But on a whole to move a cast of that magnitude must have been really challenging, and for some parts he got it right. The ship and the persecution of Susanna are two examples of good blocking.

Stewart, Robinson along with Robin Baston's lighting designs also makes the spectacle of Acts of the Apostles a memorable production. But most of all, Stewart's ship and horse aided by Baston's lights gave the 'pulpit' an elevated view and the Christian community in attendance, much to be proud of. And, yes, the production is worthy of seeing.