When your name goes down in history for betraying someone as powerful as the Messiah himself, it’s going to take some mighty doing in order to clear your name. In “The Last Days of Judas Iscariot,” produced by Urban Theatre Movement and directed by Jeremy Aluma, writer Stephen Adly Guirgis insightfully and crudely provides the on-stage trial that Judas Iscariot never had. Many just wrote Judas off as a cold-hearted criminal and traitor; Guirgis paints another picture, a balanced one at that.

With so many one-sided views of the Gospel today, it is rare that someone takes the time and effort to truly shine light on alternate possibilities. Religious groups, more often than not, stand on their truths to be solid fact, ignoring that there might just be another side to the story.

The 23-person cast all performs exceptionally well. Nick Mills (Yusef) and Jessica Culaciati (Fabiana) play the opposing attorneys – pro and con Judas – flawlessly. Their polar conflicts are as amusing as they are honest and convincing. Levi Sochet’s performance as Satan is unbeatable. His strength is not as physical as it is mentally intoxicating. And Vincent Mentry plays the title character as balanced as necessary. The play calls for the audience to see both sides of Judas, which he executes effectively.

– Stephanie Forshee

Jeremy Aluma’s adaptation of “The Last Days of Judas Iscariot” covers all things biblical, but expands to encompass some of the pure wonder of life. From the biblical approach of purgatory, to what some believe is the greatest crime a human has ever committed (the betrayal of Jesus Christ), this performance runs the gamut of thought-provoking elements.

“This play is about humanity. It’s the exact reason I do theater,” said director Aluma. “It tells us that we are all the same and need to accept each others flaws.”

One strong issue addressed in the wide range of themes, is that of brotherhood and forgiveness. Aluma, following the footsteps of Phillip Seymour Hoffman (who directed the original, off-Broadway production) takes a bold approach in letting you decided what’s fact and fiction – what’s real and not – much like our choice in spiritual beliefs.

In the performance, you as the audience get to see firsthand testimonials of some of the most prominent figures in the history of religion and spirituality. From the Apostles’ point of views, to Saint Monica (played by the very talented Lowam Eyasu), to Mother Theresa (the charming Fayna Sanchez, who normally plays the Archangel but stood in to play the famed saint in this performance) or even Satan himself (the sneaky and bold talent of Levi Sochet) – they all have a unique point of view used to dissect the case of Judas. Pontius Pilate (played strongly by the handsome Paul Tully) even takes the stand and tells his side of the story. As does Judas’ Mother (Michelle Mania) and the Great Sanhedrin Caiaphas (Adam Tsekhman). Even Sigmund Freud (Amir Levi) has an opinion on the matter (surprise), to promote a “Judas was Mental approach” – one of the many parallels to a modern day court trail.

For those who have ever been a juror, every approach that has ever been heard in a courtroom – is presented in this play. The Defendant Lawyer (played by the powerful Jessica Culciati) who tries to retrace the steps of a great Iscariot’s childhood, is the same one who tries to present an insanity approach to win the case for the defendant. Pontius Pilate himself masterfully executes the “Spin Doctor” technique, as every time someone tries to discredit him, he puts a positive spin on it (much like a politician). When confronted with, “You were so convinced that you did nothing wrong, yet, out of the 700 crucifixions you were responsible for, Jesus Christ was the only one you washed your hands of.” Pontius smoothly replied, “My crucifixion rate was down 70 percent from my Predecessor.”

“Pontius was in a tough predicament and a tough spot,” tells Tully after the show. “Pontius and Judas are very similar to man now days… No one ever looks at their point of view.”

Every source of dramatic entertainment is seen in this performance – from movie format to classic stage theater. There is comic relief too, delivered with the on-queue quirkiness of Nick Mills, whose character El-Fayoumy supplies humor that you have to see to truly appreciate. He gravels at Mother Theresa’s feet, backs down against Satan, and even goes as far as to hit on the defense attorney.

Now keep in mind, the entire play takes place in Purgatory. “The concept that we can blame the heavens for our problems, but ultimately it is our free will that gets us where we are – be it a place of forgiveness or a place of damnation is what this play is all about,” said avid theatre-goer Nichole Joor, who was also attending the preview night.

“We are all from different backgrounds, and we all have different ideas, morals, and what not… Judas could of easily have saved himself if he allowed himself to love as Jesus and forgive like Jesus,” said Sanchez (Mother Theresa, Archangel), “Just like the people in the world today, we have to learn how to forgive ourselves. Religion is narrow minded, and theatre is meant to be though provoking.”

Thought provoking is exactly what “Last Days of Judas Iscariot” accomplishes. With its witted humor, modern-day parallelisms, to astonishing-jaw- dropping, never-be-forgotten last scene, this is one play you don’t want to miss during its limited Los Angeles run. In a perfect world, every director’s dream is to win the favor of the critics, and the audience. Aluma has done just that, as he has directed an amazing and talented cast.

– Kenne Guillory

It’s been 2,000 years since apostle Judas Iscariot kissed Jesus Christ goodbye and turned him over to the Jews. Since then, he’s been in the purgatory, writing half-sentences on walls with small pieces of white chalk, all according to Stephen Adly Guirgis’ comical play, “The Last Days of Judas Iscariot.”

Directed by Cal State Long Beach alum Jeremy Aluma and presented by the Urban Theatre Movement, their rendition successfully captures the essence of the play with several exceptional performances.

Aluma’s direction of Guirgis’ witty dialogue kicks off when Judge Littlefield (Tony Gatto) starts to unmercifully turn down the requests of lost souls who want a second shot at heaven, until a pregnant and spunky attorney named Fabiana Aziza Cunningham (Jessica Culaciati, CSULB alum) keenly brings up the case of Judas Iscariot (Vincent Mentry).

Guirgis brings together several iconic characters from past eras, as well as biblical figures from the time of Judas.

Saint Monica (Lowam Eyasu, CSULB student) makes an appearance as a vulgar yet charming eyewitness. Her performance is strong enough to move an audience to tears.

Satan (Levi Sochet) makes several appearances in the courtroom, and all the while he is charming and witty.

A wry Sigmund Freud (Amir Levi) takes the stand to Judas’ defense and clashes with prosecutor Yusef El-Fayoumy (Nick Mills) as he delivers continuous laughs.

With the exception of a few desks and writing on the walls, there aren’t very many props crowding the stage. The lights and sound effects are just right, never distracting from the story and the actors.

Aluma’s rendition of Guirgis’ “The Last Days of Judas Iscariot” is a highly impressive performance.

– Laura Aguirre

The Last Days of Judas Iscariot is a modern, provocative and thoughtful retelling of the gospel accounts of Judas, betrayer of Jesus by Stephen Adly Giurgis, one of America’s hottest current playwrights and it gets a wonderful treatment in the version directed by Jeremy Aluma at the Alexandria Theater in downtown Los Angeles.

– John Farrell