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Last Days of Judas Iscariot: A Play

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Letter to Clyde S. Kilby, 7 May 1959, quoted in Michael J. Christensen, C. S. Lewis on Scripture, Abingdon, 1979, Appendix A. His mind has shut down, and the space has with him. He has given up all hope, so he’s in a space that seems to have given up all hope.”

Judas's counsel gets to the nub of the matter when she quotes the Hegelian notion that within every idea is contained its contradiction; and what follows is an often hilarious batting forth of thesis and antithesis.

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a b Stein, Robert H. (2009). "Criteria for the Gospels' Authenticity". In Paul Copan; William Lane Craig (eds.). Contending with Christianity's Critics: Answering New Atheists & Other Objectors. Nashville, Tennessee: B&H Publishing Group. p.93. ISBN 978-0805449365. An ancient Coptic manuscript dating from the third or fourth century, containing the only known surviving copy of the Gospel of Judas. He grew up in New York City, a place where people come from all over the world and speak many languages. It’s an amazing gumbo of styles and cultures,” Ware continued. “He captures that in his language. Saint Monica, for example, sounds like a young girl from the Bronx, or East L.A. His language is very much reflective of the community he was raised in. He uses it to uplift his characters and give them dignity.”

a b "Ancient Manuscript Suggests Jesus Asked Judas to Betray Him". Fox News. New York City: News Corp. Associated Press. 6 April 2006. Archived from the original on 21 May 2013. The Kiss of Judas by Giotto di Bondone (between 1304 and 1306) depicts Judas's identifying kiss in the Garden of Gethsemane Baldassare Labanca, Gesù Cristo nella letteratura contemporanea, straniera e italiana, Fratelli Bocca, 1903, p. 240From left to right: Marie-Ange Camara as Saint Monica, Rishi Sharma as Judas Iscariot, Saul Bailey as Satan Spong, John Shelby (2010). The Easter Moment. New York City: HarperCollins. p.150. ISBN 978-0899007328. The performances of the cast are nothing short of incredible. Rishi Sharma is an appropriately enigmatic Judas, keeping the audience guessing right until his heart-breaking emotional scene with Jesus (Jago Wainwright) at the end of the play. The two lawyers, Fabiana Aziza Cunningham (Roma Ellis) and Yusef El-Fayoumy (Ayush Prasad) skilfully develop a nuanced dynamic, moving beyond stereotypical banter into deeper emotional territory. Ellis in particular delivers a highly accomplished monologue as they tirade against Satan (Saul Bailey), allowing the audience a glimpse behind Cunningham’s façade of unshakeable confidence. In fact, the monologues of this production are where the cast really shine. Marie-Ange Camara is a hilarious Saint Monica, matching excellent physical comedy and great stage presence with emotional sensitivity and skilful character understanding. Katy Lawrence and Theo Rooney also deliver as Henrietta Iscariot and Saint Peter respectively. Owen Igiehon’s performance as Butch Honeywell, which closes the production, is close to perfect. He commands the stage with grace and talent, completely capturing the audience. Although the lengthy courtroom scenes suffered from some pacing issues, the strength of these monologues almost completely redeem the entire production.

Edwards, Katie (23 March 2016). "Why Judas was actually more of a saint, than a sinner". The Conversation. Melbourne, Australia: The Conversation Trust . Retrieved 28 July 2018. Susan Gubar, Judas: A Biography (W. W. Norton & Company, 2009) pp. 298–99 (referring to several books, including this one). As a multidisciplinary artist, she remains entranced by the theater. “Especially since COVID, it has really hit home that being in community with one another is very important,” she said. “There’s something about gathering together around the fire and sharing stories.”L: How have you found the rehearsal process? And what has that experience been like coming in halfway through? Most, Glenn W. (2008). "The Judas of the Gospels and the Gospel of Judas". In Scopello, Madeleine (ed.). The Gospel of Judas in Context: Proceedings of the First International Conference on the Gospel of Judas. Brill. pp.75–77. ISBN 978-9004167216. This gospel is considered by the majority of Christians to be late and pseudepigraphical; however, some academics suggest that it may contain some remnants of an earlier apocryphal work (perhaps Gnostic, Ebionite, or Diatessaronic), redacted to bring it more in line with Islamic doctrine. Some Muslims consider the surviving versions as transmitting a suppressed apostolic original. Some Islamic organizations cite it in support of the Islamic view of Jesus. Guirgis is a New York City playwright, and Ware says that the text of this play reflects his upbringing in the melting pot of N.Y.C. “It’s an interesting juxtaposition,” she says, “of how he uses the gumbo of New York City with these classical characters.” She calls it an “Americanization” of the idea of purgatory that aligns with our modern cultural understanding of judgment, persecution, and how long punishment should last. In some ways, says Ware, it can be seen as an allegory for our treatment of prisoners.

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