[1] The ballet’s theme is taken from the Penitente religious traditions of the American Southwest in which believers expiate their sins through extreme penance, including mortification of the flesh.
[2] Its structure is derived from the mystery plays of the Middle Ages, in which small groups of traveling performers reenact scenes from the Bible.
The Mary figure presents a three-fold portrait: the tender virgin, the sorrowful mother, and the erotically writhing, then repentant, Magdalene.
They include a cross, which at times supports a sail-like square of cloth, another length of fabric carried by the Virgin Mary as a portable niche, a death cart representative of sin, and an apple/heart-shaped fruit proffered by the seductive Magdalene.
New York Times critic John Martin noted, "It has a simple charm of form, telling its ancient tale with a ritualistic remoteness that is yet touched with humanity and a quiet beauty.
"[1] Following a second viewing, Martin wrote, "Couched in a deliberately naive and oversimplified style of movement that is chiefly patterned pantomime, it achieves its ends with fine clarity and conviction.
The New York Sun's critic wrote, "The work is as parched, dry and sunbaked as the locale of its origin and, despite the fine performances of Erick Hawkins, Merce Cunningham and Miss Graham, decidedly limited in its interest.
The performance was part of a program dedicated to Louis Horst and danced by David Wood, Marnie Thomas and Gene McDonald.