Who Wrote "Veronica's Veil"?
The Lives of Bernardine Dusch, CP
& Conrad Eiben, CP
by Rob Carbonneau, C.P., Ph.D.
Knowledge and reverence of the past sustains the charism of a religious congregation. Twentieth century United States Passionists and Catholics in general have had a tendency, however, to identify with a charism that has given a high priority to a brick-and-mortar Catholicism.
What was once a new venture in 1852 to Pittsburgh, PA, had by 1906 become two Passionist Provinces. Membership in religious congregations increased. New monasteries were built. Inhabited by priests, brothers, and students they became esteemed symbols of life for a Congregation. Monastic architecture became fused with The Passionist Rule and horarium; in addition, by the 1920s novenas to St. Ann in Scranton and St. Gabriel at St. Michael's, Union City, had combined to create a symbol of Paulacrucian faith. However, the monastery, the monks, and the novena are not the only symbols of twentieth century Passionist faith.
The Passion Play—"Veronica's Veil"—became another avenue of Passionist faith and piety. Lent was not Lent without a trip to Union City, NJ, to see "Veronica's Veil." The diamond jubilee booklets of St. Joseph's Parish (1887-1962) and "Veronica's Veil" (1915-1989) have concentrated on the history of the play. They describe how, in West Hoboken, NJ, (after 1925 Union City) Father Bernardine Dusch, C.P., completed writing the Passion Play—"Veronica's Veil"—in 1910; in June 1915 Father Conrad Eiben, C.P. produced the first performance at St. Joseph's before 1,200 people. 1995 will mark the eightieth year that St. Joseph's Parish has proclaimed the story of the Passion through "America's Passion Play Veronica's Veil."
Buildings, monasteries, novenas, and plays are only symbols: Architecture of faith becomes an empty tomb without appreciation for the lives of faith. Who are the individuals that express the creative side of faith? What do we know about Passionists Bernardine Dusch and Conrad Eiben? Why are they important?
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