Passion Plays in the United Kingdom

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Passion Plays in the United Kingdom have had a long and complex history involving faith and devotion, civic pageantry, antisemitism, religious and political censorship, large-scale revival and historical re-enactments. The origin and history of Passion Play in the UK differs substantially from Passion Plays in Europe, South and North America, Australia and other parts of the world.

Contents

Origin and history in the United Kingdom

Origin

One of the earliest pieces of theatre in Britain was the Quem Quaeritis: four lines spoken by two choirs addressing each other in a dramatic form. This started the development of liturgical drama which combined education with entertainment within the church. It was intended not for evangelism, but as an aid to devotion. According to Lynette Muir:

The liturgical and patristic forms which dominated the first church plays were challenged by the great cultural and spiritual renaissance of the twelfth century with its stress on the primacy of the individual. Theologically, the Church, which had been focussed on crusades against the threat to Christianity from pagan and heretical groups, began to pay more attention to the spiritual needs of its own flock at home. [1]

Emerging out of and developing alongside liturgical drama, was the religious drama of the Corpus Christi plays which moved outside the church. [2] Thus developed the large-scale Mystery Plays that were performed by city guilds during the Corpus Christi or Midsummer festival each year until the middle of the sixteenth-century. [3]

As part of these Mystery Plays, public performances of the Passion provided a mixture of education and entertainment, but more importantly, they became significant acts of civic pride and public devotion. [4] The depth of public devotion, however, is questioned by suggestions that the behaviour of actors and spectators during play performances was often more suited to the carnival than to devout contemplation. [5]

Development of Passion Plays and Mystery Cycles

The Mystery Plays were, at the height of their popularity, entire cycles of individual plays which involved the entire city. City guilds were responsible for different plays in the cycle. [6] In York, for example, the Flood was performed by the Fishers and Mariners, the Slaughter of the Innocents by the Girdlers and Nailers, the Crucifixion by the Butchers, [7] the Resurrection by the Carpenters and the Last Judgement by the Mercers. Costumes and props were also used by the guilds and often included a gilded face for God in creation plays, a donkey outfit for the Balaam plays, fake blood for the crucifixion and a flaming hell mouth with fireworks for the increasingly dramatic Last Judgement as the world was destroyed in a flames and sparks.

Other special effects were created by the pageant wagon itself which was offered at its simplest a raised stage and at its most sophisticated a two-story structure which had machinery to raise and lower angels and also a trapdoor that opened up to hell. [8] This hell mouth became an increasingly spectacular construct and engravings show a gaping, monstrous mouth spurting flames and engulfing men and women who were bound for hell.

According to Beadle and King, the guilds’ involvement indicated the sanctity of everyday life: a recognition that their labour and produce came from God and should be used to honour God. Furthermore, Mystery Plays offered spectators a spiritual experience as well as entertainment. [9] As Dee Dyas (1997) puts it, the audience were ‘vital players in this epic drama, for the mystery cycles, the miracles or saint’s plays and the moralities were all designed to warn and win souls’ [10]

The Mystery Plays were highly popular performances that brought the city’s citizens together, as well as attracting visitors from surrounding cities and towns. [11] Royal and noble visitors to cities which performed Mystery Plays had special plays put on for them, such as those put on by the guilds of Coventry for Margaret of Anjou in 1457 (who was reportedly disappointed that she missed the Draper's Doomsday play due to lack of daylight), Richard III in 1485 (less than three months before his death), and Henry VIII in 1493 (King and Davidson, 2000). Mystery Plays thus promoted civic prestige and economy, adding to the reputation of the town as well as the honour of God in what Dyas (1997) terms a ‘neat blend of religious fervour and burgeoning civic pride. [12]

Public performances of Passion Plays lasted from the fourteenth century to the middle of the sixteenth century, with a few examples into the seventeenth century. There is a reference to playing Christ in a medieval Passion Play is found in a Good Friday sermon: [13]

When the game was over, all the players talked among themselves and considered playing again; and one of them said, "Who shall be Christ?" The others said, "He who played today, since he played well." [14]

According to Helen Cooper, performances of the Mystery Cycle ‘…continued well into Elizabeth’s reign, and in places further from the centre of government – Cornwall, where the plays were in Cornish; Kendal; Kilkenny – comparable plays are recorded into the seventeenth century'. [15]

Influence on Shakespeare

Shakespeare expects his audience to be familiar with characters and events in the Mystery Plays [16] and alludes to the Passion Plays he most probably would have seen in nearby Coventry. [17] The majority of Shakespeare's plays contain biblical references, [18] and some of those are specific references to the events and characters contained in Passion Plays. [19]

For example, in Macbeth and Hamlet, there is reference to Pontius Pilate who famously washed his hands to signify his innocence of the death of Christ. Both Lady Macbeth and Macbeth talk of washing blood from their hands. As Macbeth puts it:

Will all great Neptune’s ocean wash this blood

Clean from my hand? No, this my hand will rather The multitudinous seas incarnadine,

Making the green one red. (Act 2 Scene 2)

There are also references to the crucifixion, staged with copious amounts of stage blood in medieval Passion Plays, in Macbeth. A war-weary Captain gives an account of the bravery of Macbeth and Banquo during a battle referring to 'another Golgotha':

If I say sooth, I must report they were

As cannons overcharged with double cracks, So they doubly redoubled strokes upon the foe. Except they meant to bathe in reeking wounds, Or memorize another Golgotha, I cannot tell—

But I am faint, my gashes cry for help. (Act 2 Scene 1)

Censorship

During the Reformation, the Passion Plays and Mystery Cycles were suppressed due to their perceived Catholic influences (they were performed during the Catholic Corpus Christi feast which celebrated the mass and paraded the elevated host through the city). [20] There was also considerable Protestant hostility to the plays’ depictions of God which led to numerous examples of Protestant revisions and revised performances. [21] According to Lynette Muir (1995) the plays were abandoned and banned by the end of the 16th century as much 'on political as on dogmatic grounds' p. 162. There is also evidence to suggest that the Mystery Plays had become far too expensive and difficult for the struggling city guilds to continue to produce. [22]

Rosemary Woolf (1972) argues that the suppression of the Passion Plays and Mystery Cycles was a good thing and looks to the development of the Passion Plays in France which gathered irrelevant and comic elaborations over the years:

The example of French drama and the rare instances of late rewriting in England suggest that, had the cycles continued to have been revised until the time of their suppression, it would have been to their literary detriment…In France the Passions in the course of successive revisions became overblown: more and more invented incident was added to them, more ornate elaborations and irrelevant comic diversions’. [23]

Eventually, in 1642 all theatre was banned with the suppression of the playhouses by a Puritan Parliament. With the Restoration, theatres opened again in 1660, this time with women permitted to perform on the stage. However, religion and politics were heavily censored for the next few hundred years in England and no Passion Play was performed publicly during this time. [24]

Revival

Passion Plays are biblical dramas that portray the Easter story. They depict the events of Jesus Christ's trial, death and resurrection and may also extend to the events of his life, works and miracles. Today they are performed at Easter and often take place in public spaces such as city centres and town squares, many of them as free, community-led performances.

Popular biblical dramas of the Middle Ages - including liturgical drama, Passion Plays and the Corpus Christi cycles or Mystery Play - are the originators of modern Passion Plays. The Mystery Plays were epic play cycles were large-scale productions financed and produced by medieval guilds for the glory of God and the honour of their city. [25] The most well-known took place in York, Coventry and Chester. [26]

This dramatic heritage is acknowledged by modern Passion Plays. [27] The similarities between contemporary community-led, Bible focused plays from the Middle Ages and contemporary Mystery Plays and Passion Plays are recognised by artists involved in the plays, journalists and academics. [28]

The revival of Passion Plays began with the revival of the York Mystery Plays in 1951 as part of the Festival of Britain, the Chester Mystery Plays in the 1970s and the York and Towneley Plays as part of the Edinburgh Festival in 1977. [29] Some productions of the Mystery Plays, especially those in the 70s, recreated not only the cyclic nature of the plays, but also processional staging along medieval festival routes on wagons designed according to existing descriptions of their medieval counterparts. [30]

United Kingdom

Aberdeen
Abingdon
Alresford
Belper
Bewdley
Birmingham 1
Birmingham 2
Bishop Auckland

“The name derives from the idea of Jesus’ tomb being revealed to be empty on Easter Sunday and Jesus revealing himself to Mary and the Disciples. It also refers to Revealing the true story of Easter, as for many, Easter is more about chocolate and Easter bunnies." [38]

Brighton
Carlisle
Chester
Cowbridge
Devizes
Edinburgh
Great North Passion
Havant
Hornchurch

www.hornchurchpp.co.uk provides details on the event and photos of previous performances.

Isle of Man
Lannarkshire
Leominster
Liverpool
Manchester (2006)
Manchester (2017)
Newark-on-Trent
Norwich
Oxford
Poole
Port Talbot
Shrewsbury
Southampton
South Woodham Ferrers
Tonbridge
Trafalgar Square
Wirral
Woodstock
Worcester

Supporters of UK Passion Plays

Passion Trust

The Passion Trust supports the resurgence of Passion Plays in the United Kingdom through resourcing, networking, advocating and financing new and existing plays. Established in 2011, its vision is to energise the growing number of Passion Plays taking place in the UK. [68]

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