Theatre Production - Joseph and his Brethren

In his introductory note to the published book of the Play, Mr. Louis Parker tells us that it was finished in 1906, and first performed in New York on January 11th, 1913.

"In Joseph and his Brethren" I have confined myself as much as possible to the Bible narrative, and, indeed, entire scenes are transcripts of the Bible words. Potiphar's wife is called Zuleika both by the commentators of the Koran and in the Talmud. The Koran gave me a vague suggestion for the episode of Tamai and the Maidens."

It is to Mr. Parker's credit that he has not vulgarized the Biblical story, and that the embroidery which he has added is quite in keeping with the spirit of Holy Writ, while the magnificent setting which has been given it by Sir Herbert Tree not only strengthens it as Pageant Drama, but also confers additional beauty on the incidents which constitute the basis of the play.

That such a departure from the modern practice of excluding Scriptural characters from the Stage would invite Puritanical opposition was to be expected; on the other hand, eminent ministers of religion have warmly commended both Sir Herbert and the dramatist. Indeed, the man who can see anything irreverent in the production must have a curious notion of religion and be possessed of that manner of zeal which gave birth to the Star Chamber and the Holy Inquisition.

PRESS REVIEW

(Lloyds Weekly News [London, UK] - 3rd September, 1913)
JOSEPH AND HIS BRETHREN

The story of Joseph and Potiphar's wife, with alterations and repairs to suit stage presentation according to the views of the melodramatist, is given by Sir Herbert Tree at His Majesty's with a beauty and a splendour of mounting and dressing that take the beholder's breath away. Mr. Louis N. Parker, Sir Herbert's adaptor of scripts, has sought too obviously to make a play out of a pageant; with the result that we have Potphar's wife, whom the author names Zuleika, scheming darkly throughout the entire evening for revenge upon Joseph, and doing that old stage "adventuress" business of visiting her victim in prison to hiss insults into his ear, and generally to kick him, metaphorically, while he is down - down in except spirit and in mind. In like dramatic manner, so familiar to patrons of melodrama, we have the gaoler "with a kind heart" and an inclination to be lenient while one of Joseph's brothers, Simeon, has been turned into a "villain of the piece," of the "he-shall-dee-ie!" order - a very transparent agent of Satan, who is never in any attitude but one expressive of "wickedness in the making," and to whom, of course, Zuleika turns for assistance in her plan to be revenged upon the innocent Joseph.

Apart from these touches of Lyceum melodrama, always excusable because always necessary in the modus operandi of the Melville Brothers, "Joseph and his Brethren" is faultless. Mr. George Relph as the "dreamer of dreams," gives a performance so beautiful that one might almost think it to be inspired if one did not know that it had been rehearsed, and that most ploddingly and patiently. Sir Herbert Tree, who coached the young actor, cut a very grand figure of Jacob, and the little that he has to do is done with perfect artistry. Excellent work is also done by Miss Maxine Elliott, an almost fiercely handsome Zuleika; by Miss Jessie Winter as the maiden with whom Joseph is in love; by Mr. Owen Roughwood, an impressive Potiphar; by Mr. Henry Vibart, who holds himself with great dignity as Pharaoh; and by Mr. A. H. Saintsbury as the villainous brother Simeon.

As we showed in our editorial notes in last month's issue, the drama in this country owed its being to public representations given under the auspices of the clergy. In Collier's Annals of the Stage we read, "In 1378, the scholars, or choristers, of St. Paul's Cathedral presented a petition to Richard II., praying him to prohibit some ignorant and inexperienced persons from acting the history of the Old Testament, to the great prejudice of the clergy of the Church, who had expended considerable sums for a public representation of plays founded upon that portion of scripture at the ensuing Christmas."

It is also on record that in 1391, "the parish clerks of London performed a play at Skinner's Well, near Smithfield, in the presence of the king, queen, and the nobles of the realm, which lasted for three days." It seems very strange, therefore that there should be any among us who should take exception to a class of performance that undoubtedly appeals to the spiritual element in man, and that pictures vividly to the imagination those events which so directly heralded the inauguration of the Christian Era.

It is inconceivable that there be any person so sensitive that his feelings can be outraged by the impressive spectacle to be seen at His Majesty's Theatre. Indeed, to comment on such an one seems like thrashing a dead horse. If a theme be noble in itself and it is treated with becoming reverence in its public representation, then the effect on the multitude must be elevating, and its message of benefit to the world.

Mr. Parker names his four acts respectively, "The Coat of Many Colours," "The Temptation," "The Dreams" and "The Deliverer." In the first we see the jealousy among the brethren occasioned by Jacob's preference for Joseph. Only Reuben defends him. "I know not what new thing ye are banded in against Joseph, but I bid you beware. Our father loveth him as the apple of his eye. To-day, ere we go to our flocks, he is to endue him with the robe of manhood." With sullen faces and angry hearts, they watch Jacob lay upon him the coat of many colours and bless him.

In the next scene, "The Wells of Dothan," he is cast into the pit in the absence of Reuben. When Zuleika and her escort appear, his voice is heard praising the "Only God" and condemning the "gods of the strangers." Zuleika commands that he shall be brought forth so that he may be stripped and slain. But her curiosity conquers and she draws aside the curtains of the basourah and looks upon the youth with favour. "Lo! I sought a gift to bring to my lord Potiphar, and I found nought. Here is what I sought. Thou, buy this lad of his brothers and I will give him to my lord to be his slave." The money is paid, and, with prophetic instinct, Joseph exclaims, "Ye have sold me into bondage for twenty pieces of silver, but I tell you the day is at hand when ye shall come on your knees asking mercy ... and I shall deliver you and set you in high places."

The next scene is Jacob's tent, where all are assembled to do Joseph honour, and Jacob - wonderfully impressive in stature and patriarchal dignity - chants of his love for Rachel, and Joseph whom he loves "with uttermost love."

But Joseph tarries - Joseph is in the storm. Joseph! Joseph! my beloved where art thou?

Then Reuben enters, holding up the coat of many colours, "This have I found; know now whether it be thy son's coat or no!" Jacob reaches for the blood-stained garment, and, as the dreadful truth illumines his mind, he falls forward on his face and a great wail of mourning rings through the tent.

In the next act we are introduced to the house of Potiphar, and note the love of Joseph for Asenath; we see the regard he is held in by Potiphar, who, being commanded on a war expedition by Pharaoh, leaves Zuleika under his special protection. With insidious wiles and soft speech Zuleika strives to win him to her purpose; she consults her crystal and prepares a magic love potion, and having commanded Joseph's presence, she dazzles his senses with her seductive charms and presses him to drink. Then Joseph breaks the spell that was ensnaring him, dashes the cup to the ground and rushes from the chamber, while Zuleilka, standing like a tigress at bay, runs her dagger through the coat he had left in her hands.

The next day the lord Potiphar returns and makes demand for his wife, and she, opening the door of her chamber, appears before him, veiled in black, with disordered hair, and in her hand is Joseph's cloak, which she throws at the feet of Potiphar. "The Hebrew servant came in unto me to mock me. I lifted up my voice and cried, and he fled and got him away. He left his garment with me. Know now, whether it be his or no."

Joseph is hurried to prison, but even there the woman scorned will not leave him in peace. She comes to him veiled and he mistakes her for Asenath; she throws back her covering, her heart raging with hate and jealousy of Asenath, and at her bidding the stone top of the subterranean dungeon is raised and Joseph is plunged into its black depths.

In the next scene he is brought before Pharaoh, a wan, emaciated figure, to explain the dreams, and we are shown his elevation to high estate, and in the next act follows the episode of the Brethren's journey to Egypt for corn and the denoument in which Joseph makes himself known, and the joy of Jacob when Joseph rushes into the arms of his father, exclaiming, "Great Israel! Behold thy son!"