ABSTRACT
Easter has long been a favourite among Johan August Strindberg’s plays, both in Sweden and in England. The small cast of six characters and the single set of a verandah furnished as a living-room, put it within the scope of the smallest theatre, while the opportunities for fine acting and imaginative production are large. Nor in this modern Mystery or Morality Play is there any of the grim tragedy found in many of Strindberg’s dramas. It is tender, sensitive and has a haunting quality of goodness. Good Friday is dark indeed. Elis is forced to go vainly through all the reports of his father’s case again, and he believes he has lost Kristina to a friend who has already played him false. Eleanora fears that she may be arrested for taking a daffodil from a closed shop, and over the whole family looms the shadow of the Creditor.
