Vianney: The Drama | An Interview with Leonardo Defilippis | Carl E. Olson | August 3, 2009 | Ignatius Insight
Vianney: The Drama | An Interview with Leonardo Defilippis | Carl E. Olson | August 3, 2009 | Ignatius Insight
The one-man drama, Vianney, produced by Leonardo Defilippis and Saint Luke Productions will
premier at Saint John Vianney Parish in Houston, Texas, on August 4, 2009, the
feast day of the Cure of Ars. Carl E. Olson, editor of Ignatius Insight,
recently spoke by phone with Defilippis about the new drama and the Year of the
Ignatius Insight: You obviously started working on this
drama long before "The Year of the Priest" was announced. Was that a
providential alignment? How did it come about?
Defilippis: I had an
interest in Saint John Vianney, the Cure of Ars, for a long time. I got
interested in him through another movie script; someone had wanted me to play
him in a movie. So what that did is it got me reading about his life in more
detail. That was about twelve years ago. Then I kept that it in the back of my
mind; I got so busy with filming Therese, but I always wanted to
do something about him somehow, somewhere.
About two years ago I did a scene at a church after another
performance, to experiment and to see what the reaction would be. It was the
scene where he first meets the devil, which is a rather dramatic scene. That
got people's interest, and I was playing with it, so to speak, from a
performance standpoint. Then I starting doing that after each performance to
see how many people knew of him and how many didn't know about him. That
developed and I kept planting seeds.
As time went on, about a year and a half ago, I realized
that his anniversary was coming up. I was thinking of opening the drama earlier
in order to build to build up to Vianney's 150th anniversary. And I
knew the Pope would do something because Blessed John XXIII did a huge
encyclical [Sacerdotii Nostri Primordia,
August 1, 1959] on John Vianney, so I knew Pope Benedict XVI wouldn't ignore
him. But then he did something totally unusual in the history of the Church in
declaring this year to be the year of the priesthood. This didn't surprise me
too much, but I think it took many people by surprise, and I think the reason
is that the majority of people in the United States do not know who St. John
Vianney is. I would guess that only ten to fifteen percent of all Catholics in
the United States have ever heard his name.
Ignatius Insight: I had known the name for many years,
but I knew very little about his life prior to writing a piece about him five
years ago for Our Sunday Visitor. And it was fascinating; I was especially intrigued by the supernatural battle
he waged for so many years, and his amazing fortitude and holiness in the face
Defilippis: He had,
as John XXIII called it, probably the most crushing ministry of all time. And
yet a lot of Catholics in this country, even the elderly, haven't heard his
name. And yet he is one of the most famous saints in all of the Church. I once
did a polling at a Catholic school after a performance, and I asked, "Whose
feast day is it today?" And no one in the group knew, not even the teachers.
And then I said, "Raise your hand if you've ever heard of St. Thˇr¸se." Maybe a
quarter of them. "How many have heard of Saint Francis?" Maybe a quarter.
"Saint John Vianney, the Curˇ of Ars?" Two people raised their hand. And that
really reflected the general state of things around the country.
And most priests don't know who he was either. He's not on
their radar. They don't know the history and the story. They might have a small
glimpse from reading the Office. There is a large group of priests who, due to
bad formation, know very little about the saints. And the laity are the same.
So when I started doing some promotion of this drama with the bishops and
others, I found that there wasn't a relationship between most priests and St.
John Vianney. So it was God's providence when the Pope named the year of the
priest, because even now some people don't sense or know that the year is based
on the anniversary of the death of St. John Vianney. It was remarkable that
Benedict chose the Feast of the Sacred Heart [June 19th] to be the
opening of the year of the priest, because that really is the symbol of the
priesthood, the pouring out of love and one's life for souls.
And then next year will become the elevation year, something
that will be unbelievable in the history of the Church, for St. John Vianney
will become the patron saint of all priests in history. So this ignorant,
peasant priest, a farmer priest, will be recognized in a way that he would not
have ever wanted, because of his tremendous humility.
Ignatius Insight: What strikes me is how Pope Benedict
emphasizes the humility and holiness of not just St. John Vianney, but of many
saints who are rather obscure and unknown to many people. The Holy Father's
manner of catechizing in this way has been profound.
Absolutely. The media, even the Catholic media, didn't really pick up much on
how when Benedict announced the year of the priest, he made the connection
between the Sacred Heart of Christ and the heart of St. John Vianney, the
patron saint of all priests. He really is a complete symbol of the image of God
in the heart of the Church.
Ignatius Insight: Let's talk about the structure of the
drama itself. How is it structured? Is it strictly chronological? Are you
focusing on a certain number of key events? How do you approach it?
Defilippis: This has
probably been the most difficult and challenging work I've ever done.
Technically, artistically, and probably spiritually as well. The Gospel of John
is very demanding also, because it is so enormous. But this drama will take a
look at Vianney's whole life, while focusing in on the French Revolution, the
diabolical presence, the working of the devil in his life, the battle he had
with the devil throughout his life, and how St. John Vianney has to persevere
through incredible resistance from evil, from the evil one himself.
I follow that pattern, but at the same time we have this
incredible theme: "What is a priest?" And we'll answer this by showing how he
wants to become a priest, a shepherd with the desire to save souls. I base this
on his great challenge, "If a priest truly knew what it meant to be a priest,
he would die out of love." Which means that many priests don't realize who they
are and what they are doing. This is the great discovery of John Vianney. So
you'll see this incredible desire to unveil the mystery of the priesthood, as
well as the opposition coming at him. At the end it comes to him what it truly
is, because he tries to escape; there is a lot of beautiful music, including a
section called "The Vianney Theme," which is this beautiful, dignified music
filled with longing.
Then we have the presence of St. Philomena throughout the
whole drama, who counterbalances the devil. The mystery of the presence of the
angels and saints is there at the same time. There is also a theme of the
salvation of souls, which is the history of the Bible, in a sense, which is
this incredible struggle of, so to speak, the people of our world, who are so
steeped in sin and apathy and immorality, that they cannot be changed. But the
incredible heart of this story is that John Vianney does not give up; he is
truly the bulldog. When he grabs on, he does not let go. And there is no priest
quite like him in history in that way.
You see the incredible resistance he faced: the apathy, the
selfishness, what he called the "frenzied hunt for pleasure." There are a lot
of issues with the villagers, until he eventually transforms Ars, and there is
the line, "Ars in no longer ours." He converts an entire parish, so he knew
that when someone died, they were prepared for heaven. You'll also see how he
goes through the mockery and lies of those against him, until he finally wins
them over to Christ through his penances, his sufferings, and, as you said, his
fortitude and perseverance. And it's all based in humility. If he was proud in
any way, he would have been dead.
Once he transforms the town and parish, he begins to have
another problem, because he cannot get any rest. He was hearing confessions for
fifteen or sixteen hours a day. So the temptation changes; he wants to go live
in a monastery and escape. Finally, there are the scenes with the devil, when
the devil reveals himself and really goes after him in violent intensity. And then,
finally, he says his last sermon, and then he dies the beautiful death he does.
There are a lot of themes happening in this story.
In addition, not only will we have incredible music for all
of this, we are also going to be doing something that we haven't really done
before, and that is we are going to create a film of the other characters, and
they will appear throughout the drama. So Lindsay Younce, who played Thˇr¸se,
she's going to be Catherine, and there are a number of other actors who are
going to play some of the other roles: the revolutionary, the devil, villagers,
all sorts of characters. And there is going to be a big focus on the sacrament
of Confession, which is a huge dramatic challenge. It will hit hard, but it
will be beautiful and extremely moving.
Ignatius Insight: How long is the entire production?
Defilippis: It will
be about ninety minutes long, the same length as my live dramas of Maximilian
and St. John of the Cross.
Ignatius Insight: It sounds as though you already have a
lot of scheduled appearances. Is it filling up quickly?
I've been performing for about thirty-five years as an actor, and I have never,
ever seen a response like this in my life. What we did was a bit different.
Since this is the year of the priesthood, I didn't want to give isolated
performances, but wanted it to be part of a diocesan movement. Since this will
be the only show in the world of this kind, we are going to take a different
approach, and it has created an incredible firestorm, so that we are already
booked throughout the rest of 2009, and we are working toward going to Rome, to
perform at the culmination of the year of the priest in 2010, with plans to
keep performing this throughout the following year. And we are already getting
requests from other countries, to come to other parts of the world to perform
this drama. This has really taken on a life I've never seen before; in fact,
this really is about a sacrifice of ministry, just like the life of St. John
It's become a movement, so that certain bishops are actually
using this drama to the extent where I will perform it for all of the priests
in their diocese or archdiocese. Francis Cardinal George is one of those; we
are performing this for his entire presbyteral council. Some bishops are having
this for their seminarians. So it creates a focus on Vianney; some parishes are
using it for renewal. Some are using it in conjunction with the sacraments,
having Adoration prior to my performance, with Confession afterward. The play
will be used as a means of preparation throughout the year, and after.
Is it easy? No [laughs], it's very hard. But I've never seen
a reaction where the bishops are getting on board like they are. In some cases,
the bishop is going to come to every performance, sometimes five, that I do in
a diocese, to show that they are behind their priests and their patron saint.
I've never seen anything like that before in my life.
I think the key to this is that St. John Vianney both
symbolizes and embodies the marriage between the shepherd and the flock,
because they eventually truly marry him, and he marries them. There really is
that spiritual bride and bridegroom dimension to it. And his death
scene—what they did is so moving, it's unbelievable.
I have priests who are helping me in so many ways. I have
priests who are making me the old vestments. The conviction of some priests for
this drama has been astounding. There are many priests who really understanding
the meaning of St. John Vianney.
I really pray in all sincerity that this drama will really
help renew the priesthood and the Church, that it will inspire people, and
touch the hearts of everyone who sees it. I hope the drama will give people
hope, because the spiritual battle is so hard, and, in a sense, it looks as if
the devil is winning, especially when we are apathetic, indifferent, and just
giving up. I think St. John Vianney is the perfect example of what is needed
for our time; he is an incredible saint.
Saint Luke Productions
Vianney Drama | Info, schedules, contact, much more
Related Ignatius Insight Articles and Excerpts:
Letter of His Holiness Pope Benedict XVI Proclaiming a Year for Priests on the 150th Anniversary of the "Dies Natalis"
of the Curˇ of Ars | Pope Benedict XVI
The Blessed Virgin Mary's Role in the Celibate Priest's Spousal and Paternal Love | Fr. John Cihak
The Priest as Man, Husband, and Father | Fr. John Cihak
St. John Vianney's Pastoral Plan | Fr. John Cihak
Satan and the Saint | The Feast Day of St. John Vianney | Carl E. Olson
Who Is A Priest? | Fr. Benedict Ashley, O.P.
Women and the Priesthood: A Theological
Reflection | Jean Galot, S.J. | From Theology of the Priesthood
The Real Reason for the Vocation
Crisis | Rev. Michael P. Orsi
Pray the Harvest Master Sends
Laborors | Rev. Anthony Zimmerman
Priestly Vocations in America:
A Look At the Numbers | Jeff Ziegler
Clerical Celibacy: Concept and Method |
Alfons Maria Cardinal Stickler | From
The Case for Clerical Celibacy
The Religion of Jesus | Blessed Columba
Marmion | From Christ, The Ideal
of the Priest
Leonardo Defilippis is Founder and President of Saint Luke Productions. After years as a
Shakespearean actor, he embarked on a spiritual journey that led him to found
Saint Luke Productions in 1980. He has since performed live for more than a
million people throughout the U.S., Canada, and Europe in venues that include
churches, major theaters, civic centers, penitentiaries, schools, cloistered
convents, and World Youth Day in Denver and Rome. He has also produced films
and videos that have won numerous awards. His work has inspired vocations and
his audiences have included children, dignitaries, church hierarchy, prisoners,
students, and concentration camp survivors. Leonardo's life has been filled
with risks taken for the mission of spreading the Gospel through drama. The
biggest risk was the directing, production and distribution of the feature film
Thˇr¸se. His production, Vianney,
tours the U.S. as a dramatic contribution to the Year of the Priesthood,
declared by Pope Benedict XVI . On the Feast of the Transfiguration, August 6,
1983, Leonardo married his beloved wife Patti. They have been blessed with
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