| Joseph and His Brethren | |
| Director: | Louis N. Parker and Frederick Stanhope |
| Music: | Arthur Farwell |
| Place: | Century Theatre, New York City |
| Orig Lang: | English |
| Subject: | Biblical story of Joseph |
| Genre: | Spectacle |
Joseph and His Brethren is a 1906 play by the British writer Louis N. Parker, that was not produced until 1913. This biblical pageant has four acts, each with its own subtitle, comprising thirteen scenes and eleven settings, with a very large cast. The story is taken from the Book of Genesis.
The play was first produced by Liebler & Company, staged by the author and Frederick Stanhope, with sets by Gates & Morange, and incidental music by Arthur Farwell. It starred Brandon Tynan, with Pauline Frederick, Howard Kyle, and James O'Neill. It had its Broadway première in January 1913, running through April 1913 for 124 performances.
Characters are divided into Caananites and Egyptians as per Parker's published play. For clarity, many featured and all bit players are omitted.
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Act I: The Coat of Many Colors (Scene 1:The Tents of Shechem, morning) The brothers hear of travelers from Ninevah, on their way to Egypt, bearing a wife for Potiphar. They nearly come to blows until Reuben quiets them. He reminds them it is a day of rejoicing, for Joseph has come of age. Jacob explains why Joseph is precious to him, and bestows the coat of many colors on him. As they depart to meet the strangers, Jacob bids Joseph to go with them, but Rachel begs him to stay close to Reuben. (Curtain)
(Scene 2:The Wells of Dothan, afternoon) Joseph reaches the wells after Reuban has been decoyed away by Simeon. Joseph is pushed into a dry well by his brothers. When the caravan arrives, Joseph is found to be alive. Zuleika at first orders him slain for mocking her gods, but spares him to be a slave. Simeon sprinkles lamb's blood on Joseph's coat to fool Reuban into thinking a lion slew him. (Curtain)
(Scene 3:Jacob's Tent, evening) Rachel, Zilpah, and Bilhah prepare the feast to honor Joseph. The sons of Jacob enter, bearing gifts for Joseph, whom they say they have not seen. Last comes Simeon, who suggests Joseph might be with Reuben. Men sing and women dance as they await Joseph. Suddenly Reuben enter the tent, a storm starting behind him in the open doorway, as he holds up Joseph's bloody coat. (Curtain)
Act II: The Temptation (Scene 1: The Central Hall in Potiphar's House, sunset) Joseph has been shown favor by Potiphar, who has at last wedded Zuleika. Asenath and other maidens enter the hall, to prepare for the wedding night. All admire Joseph, who has eyes only for Asenath. Potiphar arrives and promises Joseph his freedom. Zuleika is displeased, but Imhotep interrupts; Pharaoh demands Potiphar lead his armies out that night. Frustrated of his wedding night, Potiphar obeys, leaving Joseph in charge of his household. (Curtain)
(Scene 2:Potipher's Garden, seen by moonlight, three months later.) News arrives of Potiphar's victory and imminent return. Joseph and Asenath meet and declare their love. They hide when Ranofer and Serseru enter, plotting to poison both Pharaoh and Imhotep. After they leave, Wakara enters seeking Joseph; she glimpses Asenath slipping away. Wakara says her mistress demands Joseph visit her. Joseph demures, reminding Wakara he is Potiphar's slave not Zuleika's. (Curtain)
(Scene 3:Zuleika's Room, an hour before dawn.) Alone, Zuleika prays to Astarte for Joseph to be blinded by love. Wakara brings word of his refusal to come, and mentions a woman was in the garden. Zuleika summons and questions Tamai and other hand maidens. Using the plot against Pharaoh as an excuse, Wakara persuades Joseph to come. But Zuleika cannot seduce him; Joseph sees in her sinuous form and shining eyes the serpents in the dry well of Dothan. He flees her, and she curses him. (Curtain)
(Scene 4:Same as Act II Scene 1, dawn.) Potiphar returns in triumph, awards Joseph his freedom, but a few moments later has him stripped and scourged when Zuleika falsely accuses him. (Curtain)
Act III: The Dreams (Scene 1: The Yard of the Prison, towards sunset.) Imhotep, Serseru, and Joseph are imprisoned in cells carved into a cliff. Enenkhet lets them enjoy the cool air of evening. Joseph interprets dreams for Imhotep and Serseru, who are then summoned by Pharaoh. Enenkhet asks Joseph to consider him a friend. Zuleika deceives them both by using Asenath's voice. Seeing Joseph outside his cell, she orders him thrown into a pit. (Curtain)
(Scene 2:The Great Hall in Pharaoh's Palace, two years later.) Shepset and Khenen discuss Asenath's impending dedication to Neith for life. Crowds of nobles and ladies watch as Menthu, Ansu, and Iri fail to interpret Pharaoh's dreams. Imhotep, restored to favor, alerts Pharaoh to one who can interpret them. Enenkhet brings an emaciated and ragged Joseph to Pharaoh, who interprets the dreams. Pharaoh directs him to guide Egypt through the years of plenty and famine. (Curtain)
Act IV: The Deliverer (Scene 1:Same as Act I Scene 3, many years later) Famine is everywhere; only Egypt has grain, thanks to Joseph's guidance. In Caanan, the brothers plead with Jacob to let Benjamin go with them to Egypt to buy grain, to which he agrees. (Curtain)
(Scene 2:An Open Space outside Joseph's House.) Joseph and Asenath are now married, with two young sons. Simeon is held captive, as surety for his brothers' return with Benjamin. He doesn't recognize Joseph, but does know Zuleika. She urges Simeon to join her at Cheop's Pyramid at midnight. (Curtain)
(Scene 3:At the Foot of an Angle of the Pyramid, midnight.) Potiphar, informed by Tamai, has reached the pyramid first with his men. They hear Zuleika deceive Simeon into thinking his brother is held captive. After giving him a poisoned dagger, she sends him off. But Potiphar confronts her; when she scorns him, his men drag her away and blind her with red-hot irons. (Curtain)
(Scene 4:The Hall in Joseph's House.) The brethren have brought Benjamin, and in return Simeon is brought forth. Joseph reveals himself to them, all is forgiven, and Jacob is brought forth in a sedan chair to proclaim God's mercy. (Final curtain)
Louis N. Parker first wrote this play in the winter of 1905–1906.[4] He saw no opportunity for its production until after Liebler & Company produced his plays Pomander Walk (1910) and Disraeli (1911).[5] Liebler & Company was a partnership between investor T. A. Liebler and producer-manager George C. Tyler. They had taken a managerial lease on the massive Century Theatre in 1911 for their spectacle The Garden of Allah, which proved a long-running success. Their second spectacle at the Century, The Daughter of Heaven (La fille du ciel) by Pierre Loti and Judith Gautier,[6] however, was not well received. The Century, with its huge stage and numerous floors of dressing rooms served by elevators, was an expensive venue to keep running. Liebler & Company were glad to get Parker's play, as it made back the money lost on Daughter of Heaven.[7]
The production was staged by Parker and Frederick Stanhope. The sets were designed and built by Gates & Morange.[8] A reviewer mentioned these were mainly painted backdrops, with only the Pharaoh's Hall and the Pyramid scenes displaying notable sets. Arthur Farwell composed incidental music for the play,[9] while the costumer was Alexander Ramsey.[10]
| Role | Actor | Dates | Notes and sources |
|---|---|---|---|
| Joseph | Brandon Tynan | Jan 11, 1913 - Apr 26, 1913 | |
| Zuleika | Pauline Frederick | Jan 11, 1913 - Apr 26, 1913 | |
| Simeon | Howard Kyle | Jan 11, 1913 - Apr 26, 1913 | |
| Jacob / Pharaoh | James O'Neill | Jan 11, 1913 - Apr 26, 1913 | O'Neill refused to sit around doing nothing for half the play and so was also given the role of Pharaoh.[11] |
| Reuben | Harvey Braban | Jan 11, 1913 - Apr 26, 1913 | |
| Enenkhet | Charles Herman | Jan 11, 1913 - Apr 26, 1913 | |
| Asenath | Lily Cahill | Jan 11, 1913 - Feb 15, 1913 | Cahill was transferred by Liebler & Co. to A Man's Friends.[12] |
| Dorothy Parker | Feb 17, 1913 - Apr 26, 1913 | This was the playwright's daughter, not the American poet and author. | |
| Serseru | Hoarce James | Jan 11, 1913 - Apr 26, 1913 | |
| Rachel | Olive Oliver | Jan 11, 1913 - Apr 26, 1913 | |
| Levi / Imhotep | Frank Woolfe | Jan 11, 1913 - Apr 26, 1913 | |
| Judah | Emmett King | Jan 11, 1913 - Apr 26, 1913 | |
| Issachar / Iri | F. Wilmot | Jan 11, 1913 - Apr 26, 1913 | |
| Zebulun | Edwin Cushman | Jan 11, 1913 - Apr 26, 1913 | |
| Gad | Leslie Palmer | Jan 11, 1913 - Apr 26, 1913 | |
| Asher / Ranofer | Franklyn Pangborn | Jan 11, 1913 - Apr 26, 1913 | |
| Dan / Menthu | Charles Macdonald | Jan 11, 1913 - Apr 26, 1913 | |
| Naphtali / Ansu | James O'Neill Jr. | Jan 11, 1913 - Apr 26, 1913 | This son of James O'Neill[13] should not be confused with James O'Neill (actor, born 1863). |
| Wakara | Jane Ferrell | Jan 11, 1913 - Apr 26, 1913 | |
| Tamai | Dorothy Parker | Jan 11, 1913 - Mar 08, 1913 | Despite taking over the role of Asenath, Parker continued playing Tamai for three weeks. |
| Jessie Abott | Mar 08, 1913 - Apr 26, 1913 | She was the twin sister of Bessie Abott.[14] | |
| Zilpah / Khenen | Harriet Ross | Jan 11, 1913 - Apr 26, 1913 | |
| Bilhah / Shepset | Madeline Traverse | Jan 11, 1913 - Apr 26, 1913 | |
| Benjamin | Sydney D. Carlyle | Jan 11, 1913 - Apr 26, 1913 | |
| (Specialty Dancer) | Violet Romer | Jan 11, 1913 - Apr 26, 1913 | |
Joseph and His Brethren had its premiere at the Century Theatre in Manhattan on January 11, 1913.[15] The first performance was a Saturday matinee. After its successful completion, producer George C. Tyler went backstage to distribute $500 in bonus money[16] to the stage hands.[17] After the first day matinee, Joseph's coat of many colors was stolen by a souvenir hunter. Artist Edward Morange painted a piece of white canvas in the appropriate colors, which costumer Alexander Ramsey fashioned into a coat in time for the evening performance.
Reviewers regarded it as a spectacle,[18] a theatrical production of epic scale more about visual appeal than dramatic themes. The Brooklyn Times reviewer was typical in emphasizing the number of people on stage and the scenery. The critic for The Boston Evening Transcript approached the play as a Bible study lesson.[19] The New York Times reviewer was pleasantly surprised to find the play was entertaining, which they attributed as much to the cast assembled by George C. Tyler, as to the writing of Louis Parker.
The production closed at the Century Theatre on April 26, 1913, after 124 performances.[20] Liebler & Company had received an offer from the Angelini-Gattini Opera Company of Milan to take over the lease of the Century, which they were glad to accept, given the expense of running it.[21]
Synopsis source
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