Most are familiar with the story of Judas Iscariot. The apostle has been a major player in the morality tale that warns Christians about the evils of greed. Although sincere repentance on the part of Judas remains somewhat of a mystery, The Last Days of Judas Iscariot hopes to shine a light on the possibility that he might not actually deserve to be in Hell.
Full disclaimer: Judas is not targeted at a Christian audience. So don’t go to the play thinking you’re going to watch a few saintly people debating the salvation of the prince of perdition. The language is strong and the play does take on a rather irreverent tone. This is not to say that a believing audience wouldn’t enjoy it because I definitely did. I was pleasantly surprised at just how Christian the messages in the play were despite all the profanity. The fact that it walks a tight line between keeping Christians happy and entertaining non-believers may have something to do with the fact that Ron Reed, the Executive Director of Pacific Theatre (a Christian theatre company) was present during production. He even stars as Butch Honeywell a member of the jury deciding the fate of Judas (played by Bob Frazer).
There are a total of 27 characters that grace the stage. Some standouts include a very foul-mouthed Saint Monica (Marci T. House), who although might offend, turns out to be a very likable character full of compassion and empathy. You also meet a nearly deaf and slightly perverted Mother Theresa (Dawn Petten) who serves as major comic relief and a slightly obnoxious middle eastern lawyer (Marcus Youssef) who do not fail to keep the audience laughing.
The stage is set in a courtroom in purgatory (called Hope). The bailiff announces that next case the Judge will preside over will be, “God and the Kingdom of Heaven and Earth vs. Judas Iscariot.” The Judge played by Kevin McNulty initially refuses to hold a trial believing that the fate of Judas is clearly already decided. It is only after the lawyer Fabiana Aziza Cunningham (Katharine Venour) representing Judas hands him a writ from God that things finally take off.
Although Cunningham hands the judge a writ from God and is trying to help Judas escape an eternity in Hell, she does not herself believe in God. This added a layer of dimension to the play that I thought served as somewhat of an apologetic. Although she uses God to get what she needs, brings forth witnesses that have touched the very hands and feet of the messiah, and is defending her client in purgatory she still questions the existence of God. To the audience this is laughable. This backstory did a good job of illustrating our own unwillingness to believe in God in light of all evidence.
During the trial, the lawyers flash back to “ancient surveillance” which is a slightly modernized and bastardized version of historical biblical events. It is nevertheless entertaining. The lawyers also call on several witnesses some of whom knew Judas and were present at the time of crucifixion — among those, Pontius Pilate, Thomas the Zealot, and Satan himself. The lawyers also call on others not present during the time of Jesus but have something to add to the debate.
Sigmund Freud, for example, argues that Judas was not mentally well and therefore should not be held accountable, Mother Theresa argues that Judas had shut his ears to God and if he hadn’t maybe he could be saved.
The entire show lasts almost three hours with a 15 minute intermission. The second half contains a few monologues that are a bit on the long side and could have been shortened. There is definitely a change of pace between the first and second acts. The second is more reflective and less humourous. Keep your eyes open for a compelling scene between Judas and Jesus (played by Todd Thomson).
If you can keep an open mind and not get too caught up judging a slightly modified history, you might really enjoy this. Judas asks some important questions about the existence of God and about faith in general. There were a couple of scenes in the play that I could even see justified as modern day apologetics. From my interpretation, it errs on the side of encouraging belief. Please be warned though, that some scenes are downright sacrilegious. If The Last Days of Judas Iscariot had a main theme, it would be grace. But it’s a slightly different take on grace than the one you might be used to.
The Last Days of Judas Iscariot by Stephen Adly Guirgis. Produced by Pound of Flesh Theatre, in association with Pacific Theatre and Neworld Theatre. Presented by Rumble Productions and the Cultch as a part of Rumble’s 2012 Tremors Festival, the show will run April 10-21, 2012 at the Cultch’s Historic Theatre.
