Ludus Coventriae

Ballett von John Neumeier

Musik: Collage – Los Angeles Cantan / Good Christian Men, Rejoice
und Mischa Spoliansky – Strength and Loneliness, Castle of Valcouleurs, Before the Trial, Voice of Conscience
Choreografie und Kostüme: John Neumeier
Bühnenbild und Licht: Winifred Sensiba, Holly Haas

URAUFFÜHRUNG:
Milwaukee, Marquette University, Teatro Maria, 14. Mai 1961

ORIGINALBESETZUNG:
Adam: John Neumeier
Eve: Polly Harding
God the father: Peter Bonerz
God the son: Ronald Fistel
God the holy ghost: Russel Drysch

FOREWORD

Five hundred years ago the scenes for this Nativity Sequence were played on double-decker pageant wagons by the members of the English merchant guilds. For the purpose of modern presentation, however, it has been found more feasible to combine the English with the continental method of medieval stage craft. At Valenciennes for example, a system of polyscenic or “multiple” staging was used. Small “mansions”, each designating a different locale, were set in a row across the rear of the stage. Heaven and Hell formed the outposts; Hell, furthest stage left, was a two-story structure, the entrance of which was formed by an immense dragon’s head. The monster was grotesquely painted red, green, and brown. Then followed in succession a number of earthly localities:

“The Golden Gate”, The House of the Bishops”, “Jerusalem”, “Nazareth”, and finally “Heaven”, which was a canopy-like structure surmounting the throne of God.

The Nativity Sequence, as here published, is an abridgment and adaptation of scenes taken from the Coventry, York, and Chester play cycles. As these dramas originally extended from the Creation of the World to the Last Judgment, so it is easy to see why some selection and concentration was deemed advisable.

Since these plays were written and given in simple language and rhythms by people who sought only to honor God by retelling the story of His Incarnation, the prime requisite for their effective performance is sincerity and faith.

J. W.