Catholic theatricality

Watching Pope Leo introducing himself to the world reminded me anew of how intensely theatrical papal introductions are. The black smoke. The white smoke.  The imperial banner hanging down from the balcony of St. Peter's Basilica, "the Loggia of the Blessings." The crimson velvet curtains trimmed with gold behind the new pope so like those in a theater. The stagecraft of the supporting actors on the balcony, speaking in Latin (mystery, the ancient). The Loggia has to be the most impressive stage in the world. Everything high, remote, and authoritative so that the choreographed human gestures take on a mythic dimension. Then there is the drama of new life replacing new death--the whole event turning on the carefully-guarded element of surprise, which of course is crucial to any dramatic performance. Gramsci once said that the Catholic Church is "the oldest and most successful political party in the world." To me--and I write as a Catholic apostate--there is certainly some truth to the claim. And if it is true, it is true in part due  to the Church's mastery of theater and stagecraft. Yet the Church knows too the deep human appetite for ritual and continuity. An appetite which can be used to ensure its own continuity and interests--but also it can be addressed and used on behalf of the spiritual and physical needs of wretched of the earth, and even those more fortunate. With each new pope, there's the question of "Which Rome is now going to turn up"?