‘Judas Iscariot’ betrayed
by a deluge of dialogue

Susan Daniels

The latest play by Stephen Adly Guirgis, “The Last Days of Judas Iscariot,” investigates the veracity of the New Testament’s number one betrayer in a gritty, hip and streetwise production by Company One, currently running at the Boston Center for the Arts through next week.

Set in a courtroom in Hell, 15 actors take on 26 characters that probe, beseech, rant, testify, or in their own way address the events surrounding Judas’ actions when he sold out Jesus to the Romans for 30 silver pieces — the equivalent of four month’s wages during those times.

In Guirgis’s interpretation, the conventional plot points are turned upside down as an array of Biblical characters, historical figures and 20th century icons make an appearance to alternately shed light on and provoke debate about this ambiguous point in history.

Propelled by an ego the size of, well, himself, Sigmund Freud (Greg Maraio) weighs in with a psychological interpretation of Judas’ actions. Other characters include a hard of hearing, headphone-wearing Mother Teresa (Magda Spasiano), a sensual, flamboyant Satan (artistic director Shawn LaCount), a foul-mouthed Saint Monica (Juanita Rodrigues), a compassionate Jesus (Nael Nacer) and, of course, Judas (Raymond Ramirez), guilt-ridden and wracked with shame, who remains throughout most of the proceedings in a catatonic state.

Contesting the case from opposite ends of the courtroom are defense attorney Fabiana Aziza Cunningham (Noel Armstrong) in a one-dimensional turn that displays basically one facial expression — snippy, puckered lips — and one body stance — tightly coiled — and prosecutor Yusef El-Fayoumy (Mason Sand), who keeps the production poppin’ every moment he’s on stage. With his Middle Eastern accent, herky-jerky body language, and bull’s-eye comic timing, Sand creates a character that feels totally present and authentic in a production that, despite being billed as a darkly humorous drama, is not all that funny, and is more heavy than dark.

Part of this may be due to all those words. Clocking in at almost three hours, Guirgis, known for his urban rhythms and mean street language, could have benefited from a dramaturg wielding a big red pen. After so many monologues and so many long-winded conversations, what starts as dialogue with a novel point of view ends up bombarding the senses, despite the heroic efforts of Company One, known for their edgy, envelope-pushing theatre.

Nevertheless, director Summer L. Williams seems to have an umbilical cord connection to the playwright’s intent. She delivers his message, without any frills, while leading her large multiracial cast in a journey between Heaven and Hell.

“The Last Days of Judas Iscariot” runs through August 5 at The Boston Center for the Arts, 539 Tremont Street, Boston. Tickets are $15- $30. For tickets, call 617-933-8600 or visit www.bostontheatrescene.com.