stephen adly guirgis the last days of judas iscariot

There, Joseph Mawle's Judas Iscariot is put on trial and the enormities that he has committed in betraying the man whom he believes to be the Messiah are viewed with both malice and compassion. In the eyes of designer Anthony Ward this is visualised as something of a rundown building site backed by a panoramic screen on which lively images are projected, accompanied by loud house or hip-hop, at least through the first half. The drama takes place in an area identified as Hope or, less optimistically, Downtown Purgatory. On this occasion, he makes the most of a talented cast, all of whom get opportunities to shine through close to three hours of updated biblical biography exploring amongst other things 'the Americanisation of the afterlife'. The Last Days of Judas Iscariot might draw comparisons with Angels in America, which Daniel Kramer directed for Headlong last year and Goold has already proved himself adept at jumping between Shakespeare and the far more modern. Rupert Goold, the artistic director of Headlong Theatre, was probably an obvious choice to direct this British premiere of an amazingly ambitious play by popular American actor/writer Stephen Adly Guirgis, who made his name over here with Jesus Hopped 'A' Train. Today, viewers are probably a little more mature.

The irony of the evening is perfectly demonstrated by the four words of the American national motto 'In God we Trust' posted above the stage but angrily debated rather than passively accepted.īack in the 70s, there is little doubt that Mary Whitehouse or someone of her ilk would have been ringing up a lawyer to see whether it was possible to ban this mischievous take on religion, humanity and contemporary American life. Blasphemy is not meant to be this much fun.

Stephen adly guirgis the last days of judas iscariot