|Laurence Olivier once said that “in a great city, or even in a small city or a village, great theatre is the outward and visible sign of an inward and probable culture“. There is no better proof of this than in the umbilical connection between Vancouver’s thriving culture and bourgeoning theatre scene.
Here on Cue to Cue we’ll regularly feature in-depth previews and reviews of the shows that create the face of Vancouver theatre, as well as interviews with the local artists behind it all…
Presented by the Cultch
Produced by Pound of Flesh Theatre in association with Pacific Theatre and Neworld Theatre
Presented with Rumble Productions as part of the 2012 TREMORS Festival
“It must be difficult to have only questions”
Is any mistake too big for forgiveness? If man has choice, and god made man, are any choices actually mistakes? If god is all forgiving, then why does Judas Iscariot sit in hell? In The Last Days of Judas Iscariot, Stephen Adly Guirgis’ own beliefs are put to trial along with the world’s most famous traitor. Thankfully for us, Guirgis’ own disaccord is asserted with biting humour and voiced by some of the best actors in the city. Certainly one of the best productions of the year, Judas Iscariot offers a black-comedy of biblical proportions rooted in doubt and lifted by contemporary bombast.
If heaven and hell are a mindset, as the play seems to suggest, it seems fitting that purgatory is really a place called Hope. It’s to this end we watch a trial between “God and the Kingdom of Heaven and Earth versus Judas Iscariot”, presided over by a surly judge (Kevin McNulty) who has languished there for 140 years after a civil war suicide. While at times deeply poetic, we learn that this court room drama is as many parts The Wire as it is Perry Mason. As the unceremonious Saint Monica, the brilliant Marci T. House sets the pace for the rest of the night. In response to being thought of as “heaven’s nag” she replies “I am a nag, and if I wasn’t a nag… the church wouldn’t a had no Father of the Church named Saint Augustine—cuz I birthed that mothahfuckah, raised him, and when he started messin’ up, like, all the time and constantly, I nagged God’s ass to save him!”. This is a masterpiece in which the strict bonds of naturalism need not exist.
Guirgis paints the most doubting of his characters in Judas’ defiant and agnostic defense attourney, Fabiana Aziza Cunningham (the strong Katherine Venour). …READ THE REST OF THIS ENTRY>>>