University play features everyone's favorite biblical sinner

If you have seen any of the numerous plays that the University has put together, you will notice that the performing arts department swings for the fence.

Sure, it is usually the subject material that makes the shows so interesting but what would happen if say, I don't know, they did a show where the main protagonist was on trial in purgatory for the greatest biblical betrayal of all time.

If you're referring to the University's rendition of "The Last Days of Judas Iscariot," you're talking about a production that's phenomenal in every single way.

"The Last Days of Judas Iscariot" written by Stephen Adly Guirgis and directed by Grant Kretchik, tells the story of Judas, everyone's favorite biblical sinner.

Set in a courtroom in purgatory, his lawyer Fabiana Aziza Cunningham (Chelsea Roe) litigates with the prosecution of the blue-haired Yusef El-Fayoumy (Spencer Bazzano) for his entry into heaven. The play jumps back and forth between flashbacks to an imagined childhood to coincide with the testimonies of witnesses such as Mother Teresa, Caiaphas, Sigmund Freud and Satan.

The acting is top notch and it is safe to say that as far as the characters go, every single actor knocks their performance out of the park. It's hard to find a weak link in the cast, as even the smallest roles are memorable.

One noteworthy performance comes from Saint Monica (Jassmine Pierce) who talks with an unmatched attitude, catches her breath with a drag of her cigarette and appears to be the most badass saint one would ever encounter in the afterlife.

Other noteworthy performances include Prosecutor Yusef El-Fayoumy, Saint Peter (Chris Lemieux) — who sounds like he walked off the set of The Godfather, Satan (Mike DePaulo) and pretty much everyone else in the cast.

The show has a ton of humor and that is thanks in part to the wonderful chemistry the characters have with each other. For instance, the Judge (Stephon Pettway) and his Bailiff (Matt Hammond) make a great comedic team.

"We were able to play and live in the moment," says Hammond. "We all have a genuine love and appreciation for each other off stage and I think that bond and connection is still intact when we go on and perform."

Fayoumy, who is the show's ace in the hole and Cunningham also work together very well. Fayoumy's sexual innuendos towards Cunningham kept the audience laughing the entire time and I'm pretty sure even Elvis didn't do that many pelvic thrusts.

The witnesses that appear during the trial bring a perfect balance of comedic timing and intense acting. They can generate laughter, but then immediately shut off the funny during some of the more serious moments.

Pontius Pilate (Evan Pearson) who can be best described as a southern Jack Nicholson — which is awesome — is funny from the way he talks to the way he moves. What's great about his performance is that he can make the audience laugh at his one liners but then can immediately switch to someone who you'd be terrified to stand next to.

"It seemed like a daunting challenge to me at first," says Pearson, "but pushing myself to go places I never knew I could is what makes acting such an exhilarating and fresh experience."

To put it bluntly, the set is also amazing. With real moss growing everywhere, the set looks like something pulled out of a Marilyn Manson music video.

The design was carefully imagined since virtually every bit of the set serves a purpose. Two tables, which serve as desks for the prosecution and defense, can be slid together to create a bar for a flashback. Shot glasses are also scattered about the set to extinguish the many lit cigarettes. They even managed to sneak in a projection screen on the back wall without making it stand out.

The lighting and sound design also add some nice touches. When the two tables are moved they sound like they're made of stone. Every time the Judge bangs his gavel it comes down with a thunderous bang. The timing for the sounds is perfect, never once missing a beat. Probably the most intriguing technical feature was the use of the lights to simulate dozen of flashes from paparazzi cameras when witnesses entered the courtroom giving the space that extra courtroom feel.

There is just one slight hiccup that prevents this show from being completely perfect. The show has a pretty lengthy run time, as there is so much that happens. This wouldn't be a problem if at the very end the show didn't take a page out of the last Lord of the Rings movie and end it several different times.

The audience also gets tossed a new character at the end, Butch Honeywell (Matt Alford). While the character has a great monologue — I'll even let slide the "baby dinosaur" bit — it just felt like too much to suddenly ask the audience to invest in a character who had been quiet for two plus hours of the show.

Aside from that the show was worth every penny. From the wonderful cast, to the eye-catching set, to little details with the lights and sounds, "The Last Days of Judas Iscariot" is terrific show. It's easy to see the cast and crew spared no expense to make this show a hit.

"It was so great to work with such a dedicated group of students and faculty" says Assistant Stage Manager Emily Rice. "Everyone put in so much hard work and together we made it happen."

There really is not enough that can be said about how perfect the show came together, and if you didn't see the show you have seriously missed out. In the case against "The Last Days of Judas Iscariot" I hereby rule the show unbelievably awesome and those who chose not see it uncool. This review is adjourned.