Review: ‘The Last Days of Judas Iscariot’ at Theatre 68 Arts Complex
- Dondre Tuck
- 12 hours ago
- 3 min read
Stephen Adly Guirgis’ “The Last Days of Judas Iscariot,” directed by Leif Gantvoort at Theatre 68 Arts Complex’s Emerson Theatre, is a dark comedy set in Purgatory inside a courtroom where Judas Iscariot’s fate is reconsidered. Through a legal appeal, witnesses and historical figures are called to testify about Judas’s life, his betrayal of Jesus and whether or not he deserves forgiveness.
The play features a large cast of characters, but the production manages to keep things clear without overwhelming the audience. While performances across the board are strong, there are a few moments in the first act where the chemistry between actors feels uneven. Still, the ensemble settles into the rhythm of the show as it progresses.
Freddy Giorlando as Judas delivers a nuanced and memorable performance that anchors the production. Jeremey Luke as prosecutor Yusef El-Fayoumy and Sara Spadacene as defense attorney Fabiana Aziza Cunningham both deliver solid and entertaining performances as opposing forces arguing Judas’s case.
The ensemble serves as the backbone of the production, with each actor present and engaged. Their use of active listening helps the courtroom environment feel alive. Standout moments come from Jamar Gilbert as Pontius Pilate, Bradley Fisher as Peter and Howard Leder as Sigmund Freud, each leaving a distinct impression despite being part of the larger ensemble. Andy Stratton also deserves recognition for his versatility as an ensemble member, the Bailiff and onstage keyboardist who helps move forward key moments of the play.
Gantvoort’s direction gives the show a feeling of controlled chaos that fits the tone of Guirgis’ script. The second act feels noticeably stronger than the first, with tighter pacing and clearer emotional stakes. Staging is immersive and places the audience directly within the courtroom environment. One particularly effective choice is having Judas seated in the audience, which reinforces the idea that the audience is witnessing the judgment unfold in real time. While the pacing generally works, there are moments that linger slightly longer than necessary.
Set design, also by Gantvoort, is thoughtfully executed. Aside from a few flashback sequences, the story unfolds entirely within the courtroom. The design leans into an avant-garde, gritty, punk-inspired aesthetic. The space is framed by rows of chairs on both sides of the room, two wooden desks for the attorneys, a tall bench for the judge and a wooden platform beneath stacked concrete cinderblocks. The arrangement helps create a stark and uneasy environment that suits the tone of the play.
Lighting design by Courtney Roles is one of the most effective elements of the production. During testimonies, the stage is often washed in a soft orange-yellow hue. For more emotionally charged moments, red and blue tones dominate the space. A particularly striking moment occurs in the second act when Satan appears, and the entire room is flooded in an intense red.
Understated costumes designed by Kat Phan appear worn, practical and heavily used, featuring rough cottons, wool and layered fabrics that are patched or distressed. Many of the garments appear stained or aged, suggesting long-term wear and reinforcing the harsh environment of Purgatory. Each character’s look supports their identity within the story.
One of the strongest themes explored in the play is the tension between free will and destiny. The production raises a central question: if Judas’s betrayal was necessary for the Christian story to unfold, is it fair to condemn him for it? The play becomes especially thought-provoking in how it challenges the idea of absolute moral judgment, instead asking whether Judas acted out of personal choice or was fulfilling a larger spiritual plan that had already been set in motion.
Despite its relatively long runtime, the audience remained engaged throughout a recent performance. The production is entertaining while also inviting deeper reflection. Lighting and set design stand out as particularly effective elements, while the ensemble work and live music add texture to the experience. Overall, this staging of “The Last Days of Judas Iscariot” offers a compelling and visually striking take on Guirgis’ complex and philosophical script.
“The Last Days of Judas Iscariot” continues through April 5 at Theatre 68 Arts Complex’s Emerson Theatre, 5112 Lankershim Blvd., North Hollywood, with shows Thursdays, Fridays and Saturdays at 7 p.m. and Sundays at 4 p.m. For tickets, visit theatre68artscomplex.stagey.net. Run time is 3 hours and 10 minutes, including intermission.
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