~photo courtesy of Mollie Francis
I haven't really said much about "The Last Days of Judas Iscariot." Not compared with the way I usually wax loquacious about whatever project I'm working on.
In the beginning, I didn't know what to think. I just had to trust Rob and do as I was told to the best of my ability. The further we got into the rehearsal period, the more fun I was having, and the more relaxed I got with this very peculiar character.
Of course, every character in this play is peculiar, and it became a question of playing on each other's peculiarities. Acting is such a trip, anyway. You have to say the right words, looking out of the eyes of your character, and still maintain enough of yourself to keep track of what's going on. Remember, there is always the possibility that something can go horribly wrong...you can forget a line, or get the wrong cue, or your bra strap can pop open...and you have to deal with that and go on. You come to trust the rest of the cast to give you the right cues, and trust your own ability to give the right cues, as well. Still, you have to have enough of your attention invested in your character to make it all real. Not just look real, but be real. In this play, especially, every actor needed to maintain total loyalty to his or her character, and commitment to go where they might not really want to.
This play seemed to weave itself in gossamer, building a structure as light and delicate as a cobweb, and as fragile. I guess I was afraid that talking about it might jinx it, or some such nonsense.
In the end, the gossamer was very strong, and we all (I think) came away the richer for the experience.
As Frank always says: "The theater is magic. There's magic in this theater, and truly blessed are those who share their talents with others."