April 14, 2006
Letter from Venezuela
Passion played out on the banks of Orinoco
By Kevin Mulqueen
Published By Guardian Weekly

"After travelling by por puesto (shared taxi) from Maturín, I check into the Hotel Colonial, a crumbling old edifice beside the Orinoco river in Ciudad Bolívar. The hotel has a first-floor restaurant with a view of the street. After ordering river fish and a Solera beer, I settle down to plan the afternoon.

Several hours later, having seen the sights, I am strolling down Paseo Colón, on my way back to the hotel. The chief attraction of the Paseo is the river, which runs alongside. In the rays of the setting sun, the brownish water shines like mercury. In the distance, I can see the Angostura suspension bridge. A freshwater dolphin leaps clean out of the river and swims upstream, breaching the surface every so often.

My gaze wanders to the river­bank, where I am surprised to notice three large wooden crosses on a rocky outcrop close to the water's edge. Families are taking up positions on the stretch of sand in front of the rocks. Loudspeakers are being tested. A section of pavement has been cordoned off, and tiers of metal seating are being erected. I ask a local man what is going on. "El Cristo del Orinoco", he replies.

I should have known. All over Roman Catholic Venezuela, at Easter, plays depicting the life and passion of Jesus Christ are enacted. By chance, I have arrived in time to witness the first performance of El Cristo del Orinoco. The pageant, I learn, runs for five nights - from Good Friday until Easter Tuesday.

During the next hour a happy, noisy crowd assembles. Sellers of empanadas, soft drinks, popcorn and sweets vie for business. I make my way down to the sand, where lines of potted candles demarcate the seating area from the stage.

The loudspeakers now relate the story of Christ, starting with his baptism. A spotlight illuminates the figure of John the Baptist wading across the Orinoco to the shore - a dramatic opening, which draws great applause. He is shortly joined by Jesus, who arrives in a boat flying a large Venezuelan flag. Nobody laughs except me.

Many of the most dramatic ­biblical scenes are performed, from Salome's dance of the seven veils to the stations of the cross and the crucifixion. For this climactic scene, the three wooden crosses, with their human cargo, are spotlighted. We all jump when an exploding firework signals the death of Christ.

The sandy shoreline of the ­ Orinoco is a perfect natural stage for the actors. The only blemish is when Jesus forgets his microphone training, becomes inaudible, and is harangued by a technician.

The actor playing Jesus has been chosen for his looks as much as his acting ability: long dark hair, beard, eloquent eyes, lean body. The Christ of tradition. My attention is held throughout.

I am reminded of the Easter passions I yawned through as a young Roman Catholic in England. They were not plays at all - just insipid readings delivered by the priest and altar boys. El Cristo del Orinoco, by contrast, is dramatic and imbued with a great community spirit. The actors, including many children, are ordinary people. The audience is respectful yet plainly enjoying itself; it has come not out of pious duty but to be entertained.

Some of the older people here tonight have been watching El Cristo del Orinoco all their lives. This is my first time. The cocktail of river, religion and carnival makes it an unforgettable experience".