Product Description

Called to the priesthood by God, Fr. James Martin was startled to get a very different kind of call one evening in 2004: a phone call from actor Sam Rockwell. Rockwell had been cast in the part of Judas Iscariot in an Off-Broadway play where Judas was on trial for his crime of betraying Jesus; would Martin be willing to offer some theological insights? Martin gladly obliged, and within weeks playwright Stephen Adly Guirgis and other members of the cast began to dialogue with Martin about a host of spiritual issues that weighed on their minds: Can we believe the Bible? What was Jesus' mission? What is sin? Does hell exist? Is anyone beyond God's forgiveness? A Jesuit Off-Broadway recounts Fr. Martin's thrilling six months with the LAByrinth Theater Company, as it created and performed The Last Days of Judas Iscariot, which had a sold-out five-week run in New York. As the occasionally profane and worldly playwright, director, and actors struggled to understand theological issues and ideas, they strove to convey them in an artistically convincing way to a largely secular audience. Through it all, Martin learned lessons about theater and life, about how the sacred and the secular aren't always that far apart, and how questions often tell us more than answers do.

Product Details

• Amazon Sales Rank: #60056 in Books
• Published on: 2007-09
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 272 pages

From Publishers Weekly
Starred Review. Martin, an author and Jesuit priest, lifts the curtain on theater life in this account of his experiences as theological adviser to an off-Broadway play, The Last Days of Judas Iscariot. It was the role of a lifetime for Martin, who had access to all the players involved in the production from the first readings to the play's five-week run in 2005. Although the play, which deals with the fate of the disciple who betrayed Christ, is compelling in and of itself, the way Martin combines the story line with historical detail and conversations with the actors, playwright and director is utterly captivating. Martin takes readers inside the play and into the minds of the key players, showing everything from glimpses into their spiritual lives to their reactions to the mixed reviews the play received. As a writer, editor and parish priest, Martin was obviously stage-struck by his encounter with the theater. But his transparency is sweet and refreshing, particularly when he talks about the ways in which the play affected him spiritually. His ability to translate and dissect the gospel story of Judas for a troupe of thespians echoes through his writing, making this a book that is bound to draw applause from a diverse audience. (Sept.)
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From Booklist
Martin begins his fascinating account of the making of Stephen Adly Guirgis' play The Last Days of Judas Iscariot, from conception to closing night, by admitting he began not knowing much about the theater. Guirgis recruited him in October 2004 to provide some background about Jesus and life in first-century Palestine. At the time, Guirgis was knee-deep in the play, which was soon to be produced off-Broadway at the acclaimed Public Theater. During the next few months, Martin got enmeshed in the collaborative process, providing information and moral support to Guirgis, befriending the actors, and engaging director Philip Seymour Hoffman in thorny theological discussions—all the while taking notes about the changes play, ensemble, and he were going through. His fly-on-the-wall account offers clear-eyed insight into contemporary American theater such as only a passionate outsider could provide. Martin, an ordained Jesuit priest after all, leavens the discussion with his research into biblical history and the various current controversies swirling around all accounts of Jesus, his followers, and his era. Helbig, Jack

About the Author
James Martin, SJ, is an associate editor of America magazine, the national Catholic weekly. He is the author of many books, including the best seller My Life with the Saints (Loyola Press) and In Good Company (Sheed & Ward).

Customer Reviews

A Jesuit Experiences the Making of a Play
I had a rather odd experience a couple months ago. I went to a book reading for this book, A Jesuit Off-Broadway, by James Martin, SJ. What was odd about it was that the author, the usual reader at these events, was only one of the readers. Guirgis, and many of the original cast (other than the "big" names, Phillip Seymour Hoffman and Sam Rockwell) of Guirgis' play, The Last Days of Judas Iscariot, joined Martin in reading excerpts from the book at the Public Theater--in the same space where the play was performed and my wife and I had watched it with interest a couple years back. It was a wonderful and surreal evening.

What made it surreal, at least for me, was listening to the others besides Martin read their "parts." Martin writes extensively about Guirgis and the cast in this book, their religious backgrounds, experiences and motivations. He quotes them all rather extensively though I can't believe he was taking copious notes at the time (though I could be wrong about this). As these actors read about themselves I couldn't help but notice that what I was watching was a person playing another person's interpretation of themselves. Most brought it off brilliantly but some (Guirgis, in particular) seemed to squirm with discomfort at reading his motivations aloud as interpreted by Martin. It made me more aware than usual, as I read the book, of how an author shapes experiences--as "real" as they are--to his own ends by his choices and presentation. The other cast and crew may have perceived these same events quite differently.

I know I, for one, perceived some of the things he writes about quite differently. As an attendee at one of the "talk back" nights, I agree with Martin that some of the questions can be thoughtless and rude. On the other hand, I found the cast and crew to be unforthcoming and rude to those of us with an interest enough in the work to support it. I myself only listen at these nights, looking for a deeper insight into what I've seen; however, I'm constantly disappointed in how little appreciation the cast and crew gives to their audience. As a sometime actor myself who does talk backs on occasion, I understand the weariness that can overwhelm at the end of a performance, but I always try to charge myself up for talk backs and remain even-handed with rude questions because I respect those who support me and my work.

I also understand Martin's sensitivity to the criticism leveled in some of the reviews of the play. It does demonstrate how enmeshed he got with the development of this show. On the other hand, though I liked the play immensely, I did not think it was without its weaknesses--the length and the appropriateness of some of the monologues, for example. In my mind, an unwillingness to explore justified criticism shows a weakness in judgement. (He was also reluctant to take Guirgis to task for his slowness in writing a play to which he had committed. I was much more sympathetic to the actors waiting for pages.)

Still, Martin deserves kudos for many of the great things he does in the book. He gives great amounts of historical background that inform the story of Judas and how they played out in this show. He explores how developing a play, particularly one like this, can be a spiritual journey and he uses this theme to great advantage. He gives insight into how a new play is created and brought to the stage, in some respects better than I've seen in writing by theater "professionals." Plus, he does so in a situation where he can talk in a bit of depth about some of the greats of stage and screen--Guirgis, Hoffman, Rockwell, Bogosian, etc.

Finally, I have to express my pleasure in his relating some of the background of the Jesuits and their involvement in theater. I am the product of a Jesuit education and I have great respect for these men who have always seemed to me the powerhouse of intellectual Catholicism. Having Martin's insights is something I value very much.

Ultimately, I guess I have to turn the critical lens back on myself. Though I was only peripherally involved in the events Martin discusses, I am perhaps too close to the events. My judgement may be somewhat swayed by the brief encounters I had with the play, its cast, its author and its "theological advisor." Still, that cannot get me to value my observations and opinions any less than Martin's. Much like the play Martin discusses, this is not a book without flaws; however, also like the play, this is a book that should be experienced.

Another Great Work from James Martin!

While strikingly different from his previous work, both in subject and method, this book about his experience working with the cast and crew of an off-broadway show called the "Last Days of Judas Iscariot," is phenomenal. It has been a while since I last read one of Jim Martin's books - the last major one was "Becoming Who You Are," which was sort of an expansion of some of his thoughts in "My Life With the Saints" - I immediately fell into the rhythm of his writing style. He writes in a very approachable and down-to-earth way that is neither insulting nor overly complicated. It is an intelligent mix of narrative based on his personal experience of growth with this acting troupe and theological insights that arose during the process and afterward by way of theological reflection.

Like every other book written by Martin, I highly recommend this one!! Even before I read it, I purchased 3 copies of it for gifts for people, knowing that a book by James Martin will not disappoint. Enjoy this book!

Who'da thought religion and theatre could be so interesting??
Father Martin has a unique way of getting our attention...discussing the Last Days of Judas Iscariot. Now who hasn't wondered what happened to Judas? I mean, after all, he did what was he was supposed to so that the prophecies about the Messiah would be fulfilled, but he betrayed his close friend. Hero or villian? When Father Martin is asked to be the theological advisor for the off-Broadway production that gives us the trial of Judas to determine how he will spend eternity, discussions turn to all sorts of topics. Father Martin is not heavy-handed about the theological issues, and between his insights and humor, with the modern interpretation of the trial scenes (I REALLY need to start praying to Saint Monica again!), I was riveted! A can't-miss good read, even for non-Catholics or "lapsed Catholics".