Inspired
by St. Francis of Assisi, the saint from Tortona staged beautiful
representations illustrating the sacred mystery of Christmas in the nineteen
thirties. These displays of faith and art attracted thousands of people.
By Flavio Peloso fdp
“Should you go to Umbria, you might have the
chance to go to Greccio, where I have been several times. When St. Francis
returned from Palestine, still deeply impressed by all he had seen of the holy
places, he wanted to bring the custom of living cribs to Italy, too. We need to
go back to the days of old, the simplicity of the early crib, and good will
come of it” (Scritti, V, 212).
These are the words of St. Luigi Orione
(1872-1940), and it was he who, in modern times, revived the idea of the living
crib which St. Francis had first staged in Greccio at Christmas time in 1223,
with the help of the local population and of Giovanni Velita, the local baron.
By this means the "Poor man of Assisi," and more recently the “Saint
of Divine Providence,” intended to recreate the mystical atmosphere of
Christmas at Bethlehem, to enable people to see with their own eyes the scene
of Christ’s birth.
The resumption of the Christmas crib scenes was
the fruit of Don Orione’s inventive and imaginative apostolic spirit. “We were the first to revive it, and at
first it was perceived as something merely amusing, but good has come of it!”
(Parola VII, 166), the saint from
Tortona confided.
Some historical notes concerning the nativity
scenes organized by Don Orione in the nineteen thirties help to give us an idea
of those remarkable religious events, and above all, the spirit they
engendered.
After the first nativity scene which was
enacted at Bra (Cuneo) in 1925, and which, though successful, was designed only
for local appeal, Don Orione decided to pursue the initiative in the town of
Tortona, in December 1930, turning it into a great public event. Successively,
many such "nativity scenes" were staged in various Italian towns.
In Tortona, posters announced that: "On
6th January there will be a procession headed by a choir of 150 Angels singing
seasonal hymns, followed by Shepherds and the Three Kings. The Magi will have a
great entourage of horsemen and pages in Eastern costume."
The news of this novel event was greeted
enthusiastically by the citizens and spread around the whole region of
Piedmont, Lombardy and Liguria. Don Orione played a personal part in the
organization, displaying a mixture of strategic cunning and childlike
ingenuousness. The picturesque religious performance was watched by hundreds
and thousands of people who had gathered in Tortona from the surrounding area.
The Bethlehem stable was set in the courtyard
behind the new shrine of Our Lady of Safe-Keeping, which was still under
construction. Most of the actors in the nativity play were seminarians from the
Congregation: “Very young seminarians-wrote the Corriere della Sera newspaper on 27th December 1930,-
who, with great devotion, are daily engaged in
carrying bricks and mortar up the scaffolding on the Shrine which Don
Orione wished to have dedicated to Our
Lady of Safe-Keeping.”
The nativity play was really solemn and moving.
Flanked on both sides by the crowd, the procession, singing Gloria in
Excelsis Deo, gathered around the crib where the act of adoration took
place. Don Orione –who until then had remained unobserved among the crowd –
kept for himself the act of offering the statue of the infant Jesus to be
kissed by the crowd, this being the moment which crowned and embodied the whole
purpose of this public event.
This religious performance was repeated four
times during that Christmas season. It produced an enormous effect and
enthusiastic articles in the Corriere della Sera, Gazzetta del Popolo,
La Stampa, Italia and other local newspapers.
In the following year, 1931, the initiative was
repeated at the request of the people. There was no end to Don Orione’s
imagination and enterprise. He even submitted a request to the Royal Household "to
get some camels for a few days, so as to enliven the nativity play, which is
unique in Italy, and give it a truly Eastern touch" (Scritti
77, 122). Once again the performance was splendid and reverent, watched by a
huge gathering of spectators. The fact that the railways offered a 50%
reduction on tickets for “those coming from neighboring stations and from
Turin, Milan, Genoa, Piacenza and Bologna, valid from January 5th to midnight
of 8th” (Scritti 53, 129) gives an idea of the popularity of the
event.
It should also be noted that: “With the offerings
received we will offer a lunch for 200 poor people. (...) The meal will be
served at the Dante School, and the diners will be waited on by the angels and
the shepherds in the nativity play” (Scritti 89, 126). This shows
Don Orione’s genius in always “combining the cultural and the charitable in
his works” (Scritti 53, 39).
In 1932, the nativity play, which Don Orione
presented as “a truly splendid manifestation of faith and art, unique in
Italy” (Scritti 62, 36) was staged in Voghera.
The holy priest reminded those who worked on
the production of the nativity play of its aim: “That by means of the
Voghera nativity play, we may do some good, indeed a lot of good. That the
crowds of people who come to Voghera may experience the breath of a new spirit
touch their souls; something of that
peace which the angels caused the shepherds to feel on that wonderful and
mysterious first Christmas night. The nativity play is, and should be, the
scene of a Gospel passage brought to life.” (Scritti Vb, 5-8).
The result exceeded all
expectations, as was recorded in an article in the La Stampa newspaper,
on 28th December 1932: “This splendid event was enormously successful, as is
demonstrated by the huge crowds who journeyed from far and near, using any
means available, to see the nativity play. It is estimated that more than
40,000 people watched all along the Via Emilia."
On 28th December, 1932,
Il Corriere della Sera newspaper
also mentioned that Don Orione, "This priest, whose name is so
widely known, is a typical example of human goodness, tireless, humble, and
modest (...) At the conclusion, Don Orione blessed the crowds, who were
chanting songs and hymns, bestowing a sense of deep emotion and profound
spirituality on the scene."
"The procession was headed by two trumpeters on horseback” –
an account of the time tells us-“followed
by an angel who pointed the way to the grotto, and another angel carrying the
star; then came a long and colorful group of some two hundred angels. They were
wearing long robes with huge wings, and singing the sweetest melodies very
beautifully. Then came the shepherds,
dressed accordingly; some were playing bagpipes, while others carried
gifts for the Christ Child, such as cheese, doves, mushrooms, birds, lambs,
sheep, and fruit, while others were driving two numerous flocks of sheep. After these simple, faithful shepherds came
the Magi, who together with their entourages had followed the star from the
East, in their search for the Child Jesus. A richly caparisoned group of horses
and riders then passed, arousing the admiration of the public on their way to
the cathedral square, where a symbolic offering of gifts took place. There was
then a stop at the Town Hall, which represented Herod’s palace. Here, the
procession fanned out to form a splendid and impressive sight, framed by a
human river of maybe 40,000 spectators. Then, the procession set off again for
the Grotto, which was at the S.Bovo Oratorio. There, Don Orione said a few words, and
then blessed the crowd with the statue of the Christ Child.”
In 1933, the religious production was staged in
Novi Ligure, on December 26th and January 6th. Don Orione explained to his
confreres: “The Nativity play we perform is intended to rekindle religious
feeling in the people, because what we see with our eyes remains more vividly
etched on our minds, especially of the little ones and the people. Materially speaking, the Nativity play is
like a “liability”, but an “asset” in the balance of good. It is a homily given
to 30 - 50 thousand people” (Parola VI, 8).
The two events were filmed and made into a
documentary by the “Luce” Film Institute.
Giuseppe Zambarbieri,
then a student of San Giorgio School in Novi Ligure and later to become the
Superior General, attended the performance enacted on 6th January, and he made
the comment: “What an extraordinary
producer of nativity plays Don Orione is!”
A similar remark was also made by Meano Caesar,
the writer and playwright. “What an
amazing director Don Orione is! That Piedmontese priest is a born producer.
From the angel leading the procession, who held up the star to the shepherds,
to Caspar, Balthazar and Melchior, I, as a humble man of the theater, had the
certain impression that that extraordinary man had shared a part of his very
soul with each and every one of us there. I never took my eyes off him! Even though he tried to melt into the
accompanying crowd, he was easily recognizable in his shabby old coat and muddy
shoes, and with that terrible old hat... but such a good fellow, so very good.
And then his eyes! Just at the right moment, each one of all those taking part
would catch their glint shining on them. But then, at the very end, he himself
took center stage, when the enchanting procession had reached the stable, and
just after the gifts had been offered. Then, although not very tall, he seemed
to tower over everything, both physically and in every sense, and raising his
arms, he pronounced a few words: Now,
I bless you with the Baby Jesus! Then Don Orione raised the statue of
the Christ Child above the bowed heads of the crowd, blessing them over and
over again.” (Meano Folder, ADO).
What were the secrets and advice of Don Orione
as a producer of nativity plays? Above all, he knew how to communicate the
underlying idea and message of the entire performance: “The nativity play
should be a sermon without words.” This aim succeeded in inspiring and
producing an inner harmony among the actors, who were so diverse and
unrehearsed.
"Firstly: pray, do your very utmost,
without conceit or pride, to make a page of the Gospel come alive, in order to
bring about some good. Secondly, whoever takes the part of an angel, a page or
a shepherd, must forget that he is a seminarian, and really turn into an angel,
page or shepherd; in short, he has to act his role to the very best of his
ability. The Angels should keep their eyes lowered; their expressions composed,
and refrain from giggling.” (Parola
Vb, 5-8).
The saint firmly believed that the “modest,
polite and solemn” behavior of the actors, expressed in their "fervor,
great ardor and enthusiasm" (Parola Vb, 212), would communicate
something holy, something of God, to the many spectators. “The procession
will be formed in this order: the angels will lead, creating the first
impression. The success of the nativity play largely depends on a good first
impression. Then, the shepherds will follow with their flocks, and the pipers.
Lastly, the cavalcade of the Magi with their entourage. There will be 200
angels.” (Parola Vb, 7-8).
Don Orione’s assessment
of the event’s success, which was also shared by his faithful disciples, was
based on the same criteria. “The nativity play involves a considerable
expenditure of time and energy, and days of worry when we have to sacrifice our
other work and duties. However, if our highest aim is its great spiritual
benefit and moral value, then surely it is well worth doing that and more, over
and over again. It is like preaching to 30-50 thousand people. What a wonderful
effect it had on St. Stephen’s Day in Novi Ligure! How many men, who had not
kissed the Child Jesus for 30 or 40 years, came to kiss it. There were more men
than women. It was absolutely amazing." (Parola, 8-9).
The last great nativity
play organized by Don Orione personally was at Novi Ligure in 1933. That year
he left for Latin America and returned to Italy in 1937. When he got back to
Italy, he was no longer able to undertake the production, although he greatly
wished to do so.
On Christmas Eve 1937, he encouraged his
spiritual sons to continue this public manifestation of faith, and advised
them; “The Nativity play should become an institution in our Congregation,
and we need to spread the practice around the world. If God grants us life, we
will produce one in Milan. If I should not be here in the coming years, you
will see that I will produce one in America. It would be so wonderful to
process past the Cathedral of Buenos Aires! The government there is very
favorable to the nativity play.” (Parola VII, 166).
The Orionine congregation have retained the
tradition of nativity plays and continued organizing them everywhere. Among the
more recent there have been those in Fumo (Pavia), Pescara, Bergamo, Pietra
Ligure, Seregno and Messina in Italy; as well as those in Claypole (Buenos
Aires) and Santiago of Chile. As Don Orione used to affirm: “A nativity play does a lot of good; it
leaves an indelible mark on people’s souls” (Parola VII, 166).
