Article: The Wayfarer: Early 20th Century Foreign Missions Pageantry

Vol. 4, No. 2, Fall 2005

(Downloading commits you to accepting the copyright terms.)

Download the Free Adobe PDF Reader if Necessary

Framing Foreign Missions Onstage

In the opening minutes of the pageant Crowther established a connection between the chaotic global conditions created by the recent world war and popular memory of the war as understood by audience members sitting at the performance. The first scene of The Wayfarer exhibited a destroyed World War One battlefield which gave spectators an opportunity to visualize the battle-torn landscapes of Europe familiar to many Americans from published reports on the war in periodicals and local newspapers. In the first episode Methodists experienced "the crash of the world war and all its brutal horror" which illustrated the desolate conditions of the world and demonstrated the need for someone or some organization to take up the "task of reconstructing the world."(25) This "world" created onstage by Crowther for a largely Methodist audience included men, women and children fighting in the streets, dead and wounded soldiers scattered throughout the scene, and the "roar of guns" and the "scream of shells."(26) The scenes established a picture of death and chaos from the ravages of war. As a result, an organizational redeemer was needed to bring restoration and order to a war-torn world.

Episode two removed the audience from the destruction of Flanders by taking them into a series of historical contexts which included the captivity of the Hebrew people in ancient Babylon and the staged representation of the birth, death and resurrection of Jesus.(27) Viewers were also introduced to two main characters of the pageant. The first character was named 'The Wayfarer' while the second was christened 'Understanding'. Exposition executives hired [p. 117] Broadway and silent film actors Henry Herbert and Blanche Yurka to play the roles of The Wayfarer and Understanding.(28) Both characters represented ideals, 'The Wayfarer' as a person or group seemingly lost and looking for direction, 'Understanding' as a person or organization leading 'The Wayfarer' out of the disorder and confusion of the world and into the attractive ideals of stability and order offered by America, Protestant missionaries and the Methodist Episcopal Church.

Episode three of the pageant, titled "The Conquest," challenged members of the audience to lead the peoples of the world out of global chaos through the work of home and foreign missions. Scene one began with an angel declaring the biblical mandate of the 'Great Commission' to the audience,

Go ye therefore and make disciples of all The nations, baptizing them
Into the name of the Father,
And of the Son, and of the Holy Spirit.

Once provided with this biblical directive from the gospel of Matthew, Understanding provokes The Wayfarer to consider his role in the task of world evangelization and asks,

How sayest thou, Wayfarer,
Having seen the Saviour's triumph
Can'st thou take His Great Commission?
Wilt thou undertake the task?

When given the biblical task as interpreted through the character of Understanding, The Wayfarer responds to these questions with the language of Christian foreign mission,

Lead me onward to the conflict,
Lead me forward to the task;
Let me share the warrior's guerdon,
[p. 118] Christ and heaven are all I ask.
Give my soul a vast horizon,
Fill my heart with purpose true,
Let me bear a brave man's burden,
Give my hands a task to do.(29)

The narrative of The Wayfarer made audiences aware of the tasks required for the spread of Christianity. The summons or "brave man's burden" involved the material and religious reconstruction of the world, and Methodist audiences were invited to participate in this endeavor.

Yet before joining this Christian task force audience members realized they were not alone on this journey. Crowther developed within the script of The Wayfarer a link to the past through the lengthy staged parade of important individuals from the history of Christianity. St. Paul lead the procession followed by others including Protestant reformer Martin Luther, Methodist founder John Wesley, Anglican missionary David Livingstone, African American Methodist missionary John Stewart, Salvation Army founder William Booth, urban photographer Jacob Riis, and three US presidents including George Washington, Abraham Lincoln and the current president Woodrow Wilson.(30) When the actor representing President Wilson appeared onstage as the last participant in the procession of Christian and governmental dignitaries a voice off stage proclaimed,

Hail to the man whom God hath called
To voice the cry of a weary world
For peace that is born of right,
For justice in place of might.
He stands mid the ruin of sacred things,
[p. 119] And all the welter that warfare brings,
The graves of a myriad uncrowned kings.
Come, let us found a world emprise
After the fashion of Christ, he cries;
An order wherein every ill shall die
That threatens the world's goodwill.(31)

Spectators seated in the coliseum watched as the call to Christian missions was made apparent before their eyes. These viewers, initially challenged by a rendition of the biblical 'Great Commission' to 'Go!' throughout the world with the message of Christ, now gazed at the parade of significant Christian and political leaders one of which was John Wesley, the Methodist link to the historical lineage of Christian leaders and Protestant missionaries. The representation of forbears who converted people to Christianity brought the memories of history alive for those present in the coliseum. Before Methodist audiences stood a variety of important Christian and political missionaries, some taking Christ to the world others taking freedom and democracy to those around the globe. During the final moments of the scene Methodists heard the directive, in the presence of a representation of the current US President Wilson, to "found a world emprise after the fashion of Christ." This command beckoned American patriots and Methodist missionaries forward and positioned other Protestants to join the mission in progress of taking America and Christ to the world.

The final scene of The Wayfarer included two parades involving a 'Procession of Nations' and a 'Procession of Americans.' As the thousand-voice choir sang Handel's 'Unto Us a Child is Born,' scores of actors identified in the program as 'baptized native Christians,' appeared onstage representing the men, women and children of many foreign lands in native costumes bearing palm branches in search of peace. Over one hundred flags of countries from around the world carried by persons in native dress also appeared on the stage. This parade of nations identified which countries and peoples were impacted by Methodist missionaries and foreign missions agencies. Immediately after the parade of foreign nationals a second entourage entered representing the peoples of the United States impacted by Methodist home missions. Following a woman dressed as 'Columbia' - who held and waved an American flag - dozens of Native [p. 120] Americans, African Americans, immigrants, farmers, Centenary Cadets, US soldiers and Methodist laity paraded before the audience to demonstrate the past and current work of the home missionary societies of American Methodism.

In the final moments of the performance, hundreds of actors representing the results of Methodist missionary agencies stood adorned in wardrobes of the world and presented an unfolding picture of world reconstruction and Christian renewal. As the mammoth organ chimed out the final notes of the Christian hymn 'All Hail the Power of Jesus Name' the audience joined as one Methodist community inside the coliseum. The task of converting the world to Christianity was at hand, and the pageant identified Methodists as the chosen ones to teach the world about Jesus.

Conclusion

The production and performance of The Wayfarer was important for American Methodists because the pageant linked the denomination to significant religious and political figures from the past. The representation of these historical figures onstage confirmed that one could trace the missionary impulse of American Methodism through Methodist founder John Wesley, the Protestant Reformation, and ultimately back to Jesus. When the curtain fell on the last scene the audience better understood the task ahead for Methodist foreign missions. The pageant beckoned Methodist audiences forward and helped motivate American churchgoers to join the Columbus exposition mandate of world reconstruction and Christian service in foreign missions.

Following the opening night performance of The Wayfarer a reporter for the Columbus Evening Dispatch recorded, "When the great curtains of the Coliseum stage swung together for the first time Friday night, the audience left with the quietness of people who have seen a great vision. They had. Superlatives are entirely inadequate to convey the startling impression of the 'Wayfarer,' its size, its brilliancy, the total overwhelming effect of music, costuming and scenery."(32) This report from inside the coliseum by the Columbus Evening Dispatch provides some insight into how Methodists responded to the pageant. For audience members and more [p. 121] particularly for American Methodists the pageant represented "a great vision" a symbolic call to duty for the conquest of the world for Christianity.

As noted earlier by Glassberg, the use of imagery, narrative and objects in historical pageantry connected events from the past with the present. The Wayfarer served as a tool to link Methodists to early Christian reformers including Methodist founder John Wesley. Viewing these significant characters from the history of Christianity onstage gave the past meaning for Methodists in the present. Watching hundreds of actors on parade representing Christian reformers, US Presidents, Protestant missionaries and converted peoples suggested the need for the continuation of future world transformation. This renovation reflects the arguments noted earlier from Prevots who confirms early twentieth-century pageantry responded to local and national "problems" by offering examples of societal transformation for participants and for viewers. The Wayfarer offered Methodist audiences a solution to the problem of global chaos by presenting Christianity as the driving force of social, political and religious renewal. This solution confirms the comments of Van Brunt who indicates the pageant identified the historical work of reformers and missionaries for those in attendance at the Centenary Celebration while at the same time motivating viewers for future missionary work and Christian expansion. The performance of The Wayfarer provided Methodists with a theater experience all their own. Once the audience left the coliseum the formidable task to take Christianity to the uttermost parts of the earth was at hand.

Endnotes

Naima Prevots, American Pageantry: A Movement for Art & Democracy (Ann Arbor: UMI Research Press, 1990) 4-5.
David Glassberg, American Historical Pageantry: The Uses of Tradition in the Early Twentieth Century (Chapel Hill: The University of North Carolina Press, 1990) 3-5.
Glassberg 44.
Prevots, American Pageantry 4.
Prevots 59.
Prevots 2.
Prevots 2-3.
Glassberg, American Historical Pageantry 16-18.
Prevots, American Pageantry 13.
Doctrines and Discipline of the Methodist Episcopal Church. (New York: The Methodist Book Concern, 1916): Paragraph 280 titled "Imprudent Conduct" from the 1916 Discipline states, "In cases of neglect of duties of any kind; imprudent conduct; indulging sinful tempers or words; dancing; playing at games of chance; attending theaters; horse races; circuses; dancing parties…" were forbidden. If a person was caught a third time participating in any of these offenses they were brought to church trial, and if found guilty "expelled." (195) Methodists were able to weigh excommunication from the Church with the language of Paragraph 30 in the "General Rules" which stated, "It is therefore expected of all who continue therein [as members] that they shall continue to evidence their desire for salvation, by doing no harm, by avoiding evil of every kind, especially that which is most generally practiced; such as, doing what we know is not for the glory of God, as: the taking such diversions as cannot be used in the name of the Lord Jesus." (36) Thus, one might attend the theater for a play or pageant if this "diversion" was held "in the name of the Lord."
The Star of Ethiopia by W.E.B. DuBois emphasized the importance of instilling national hope and pride within the African American community and the pageant showcased the impact of the peoples of Africa on America and the world. Eric J. Sundquist, ed., The Oxford W.E.B. DuBois Reader (New York: Oxford University Press, 1996), 305-310. Each episode of the pageant identified a 'Gift of the Negro' to the world including: the 'Gift of Iron' for purposes of global industrialization, the 'Gift of the Nile' as evidence the persons of Africa participated in the first ancient civilization, the 'Gift of Faith' as the people of Africa spread Islam throughout the world, and the 'Gift of Humiliation' demonstrating how the people of Africa were able to 'bear even the Hell of Christian slavery and live.' In Episode Five audience members viewed a banner which proclaimed, 'The Gift of Struggle Toward Freedom," and identified important persons of African ancestry who contributed in the quest for world expansion and freedom ranging from, 'Alonzo' the black pilot of the ship of Christopher Columbus to Crispus Attucks of the American Revolution to Nat Turner and rebellion within the American slave system. The sixth and final episode demonstrates 'The Gift of Freedom for the World' and shows the work of Frederick Douglass, black soldiers at war and the hope "that lies in little children." The pageant concludes with four black heralds "of gigantic stature" proclaiming, "Hear ye, hear ye, men of all the Americas, ye who have listened to the tale of the eldest and strongest of the races of mankind, whose faces be black. Hear ye, hear ye, and forget not the gift of black men to this world – the Iron Gift and Gift of Faith, the Pain of Humility and Sorrow Song of Pain, the Gift of Freedom and Laughter and the undying Gift of Hope. Men of America, break silence, for the play is done."
Nancye Van Brunt, "Pageantry at the Methodist Centenary," Methodist History 35:2 (January 1997): 106-107.
Van Brunt 107.
Van Brunt 108-109.
"Need Lots of Juice to Make Pageant Go," The Ohio State Journal, 29 June 1919.
"Drive to Draw Crowds to M.E. Centenary Begun," Columbus Evening Dispatch, 4 June 1919, 11.
"Pageant a Big Expo Feature," The Columbus Citizen, 21 June 1919, 2.
"Passion Play Compared with Centenary Pageant," The Ohio State Journal, 13 July 1919, 3.
"Season Tickets are Honored for Pageant," Columbus Evening Dispatch, 10 July 1919, 3. The Dispatch noted the waiting line "began forming at 4:30 in the morning (and) wound its way from the ticket booth for several hundred yards around the China building."
"Ticket Holders in Protest," The Columbus Citizen, 8 July 1919, 11; A cartoon image from the July 10th edition of the Columbus Evening Dispatch reflected the concern and frustration experienced by many attempting to get into the Coliseum to see The Wayfarer. Under the title "If Alvin Comes, We'll Have Him Get Our Seats to The Wayfarer" the illustrator depicts a mad rush of Methodists fighting each other and pushing their way toward the ticket booth. In the foreground of the image a man desiring tickets to the pageant is seen presenting World War One veteran Alvin York with two loaded pistols and commissions Sergeant York to "Get two reserved seats!"
"The Methodist Centenary," Columbus Evening Dispatch, 7 July 1919, 4.
J.E. Crowther, The Wayfarer: A Pageant of the Kingdom (New York: The H.W. Gray Co., 1919) 3.
"Business Organizations are Considering the Possibility of Permanently Establishing 'The Wayfarer' in Columbus," The Ohio State Journal, 30 June 1919.
Van Brunt, "Pageantry at the Methodist Centenary" 107.
Crowther, The Wayfarer: A Pageant of the Kingdom 6.
Crowther 7.
The personage of Jesus Christ never appears onstage and is only described by actors in The Wayfarer. The absence of an actor playing the role of Christ might reflect early twentieth century aversion by many Protestants concerning a human playing the role of a 'sinless' Savior.
Van Brunt, "Pageantry at the Methodist Centenary" 108. During her career Blanche Yurka starred in over twenty-five films, forty Broadway shows, and a number of television episodes. Henry Herbert starred in over fifty films and over twenty-five Broadway productions. For Methodist churchgoers the opportunity to watch New York actors perform live at a missionary exposition might indicate why the pageant was such a popular attraction.
Crowther, The Wayfarer: A Pageant of the Kingdom 103.
Crowther 112-114. Crowther staged the scene to have the representation of a person or persons influenced by or led to Christianity in front of each Christian reformer or US president as they appeared onstage. Thus, Paul followed a Roman soldier, Martin Luther followed a Catholic monk, Wesley trailed a man in collegiate attire, Livingstone followed an African boy and girl holding hands, and John Stewart followed a Native American Christian convert. George Washington followed a colonial soldier, Lincoln a Confederate and Union soldier, and Wilson followed a representation of Columbia holding an American flag.
Crowther 114.
"Great Pageant Thrills Crowd at Centenary," Columbus Evening Dispatch, 21 June 1919, 5.

Christopher J. Anderson is a Ph.D. candidate in American Religious Studies at Drew University in Madison, NJ. His dissertation analyzes early 20th century Protestant missionary expositions as venues for displays on race, gender, technology, and foreign missions. He is currently editing a collection of speeches from the 1919 Methodist world’s fair for publication.