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Cast – (in alphabetical order) St � omas / Matthias of Galilee Hunter CardinalJesus Oscar DerkxPontius Pilate / St Peter Daniel F. K. FernandesEl-Fayoumy Ben GorodetskyFreud Mathew HulshofGloria / Sister Glenna Georgia IrwinJudas Adam KlassenUncle Pino / Butch / Soldier Neil Kue� erJudge / Caiaphas / St Matthew Ian Leung *Satan / Mother Teresa Nancy McAlear *Baili� / Simon the Zealot Graham MothersillHenrietta Iscariot Sandra M. Nicholls *Mary Magdalene / Loretta / Soldier Andrea RankinSt Monica Nikki Sha� eeullahCunningham Cayley � omas

Creative TeamDirector Simon Bloom Set, Costume and Lighting Designer Jamie PlummerComposer / Sound Designer Aaron MacriAssistant Designer Josee ChartrandDramaturg Sarah PolkinghorneVocal Coach Elissa WeinzimmerAssistant Vocal Coach Bobbi GoddardChoreographer Maria FernandesMusic Consultant Richard Lam

Stage ManagementStage Manager Jessica ParrAssistant Stage Manager Joan Wyatt

*Appear courtesy of Canadian Actors’ Equity� is production is in partial ful� llment of Simon Bloom’s MFA Directing thesis and Jamie Plummer’s MFA � eatre Design thesis

� ere will be one 15 minute intermission Rights for this production are courtesy of Dramatists Play Service Inc. 

Contents 4 Director’s Notes • 5 Dramaturgical Notes • 8 Production Team • 9 Fundraising • 12, 13 Alumni Article •

14 St. Joan Photos • 16, 17, 19 Dramaturgical Articles • 20 Staff / Front of House • 22 Donors

THE LAST DAYS OF JUDAS ISCARIOTby Stephen Adly Guirgis

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Director’s NotesIn the 14th century, Italian poet Dante Alighieri wrote � e Divine Comedy, his theological trilogy on the fate of the soul a� er death. Inferno, the � rst book of the series, describes in gruesome detail the punishment doled out to the sinners condemned to one of Hell’s nine horrifying circles. In the lowest circle, we � nd Judas Iscariot, where Satan is gnawing on his head and clawing his back. It is a terrifying image, and one that deeply disturbed playwright Stephen Adly Guirgis as a child.

“If I can forgive someone,” Guirgis wrote in an interview with the Telegraph about the West End premiere of Judas Iscariot, “why can’t God, who was supposed to be all loving? � at was the beginning of the end of my Christian experience.” It is an extremely disturbing prospect that anyone could be beyond the potential for redemption.

It begs the question: Why do we punish those who need our forgiveness most? � e evidence is worldwide. � e Gaza Strip. North Korea. � e Boston Marathon. � e War on Terror. We put up walls, try to separate the good from the bad, the wheat from the cha� , or, to use a biblical parable, the sheep from the goats. � is attitude just begets more anger, more misunderstanding and violence. Both sides twist religious and secular rhetoric in order to dole out punishment and justify terror.

But there is Hope (which, incidentally, is where the three hours tra� c of our play takes place). Religion is undergoing a spiritual renaissance worldwide, and it o� ers us the opportunity to re-evaluate our moral priorities. It is no coincidence that the last three shows in our Studio season revolved around religious themes: a new era of spirituality is dawning, and it heralds with it the possibility for the religious and secular citizen to come together in a mutual embrace of understanding and acceptance.

� rough � e Last Days of Judas Iscariot, Stephen Adly Guirgis reminds us that our work on this earth has barely begun. He demands that we become better human beings. To truly communicate. To understand what it means to live in a shared community. To celebrate di� erence. And most importantly, to forgive one another.

Take up the task.

- Simon Bloom

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The playwright and the playStephen Adly Guirgis was born and raised in Harlem, in New York City. His father was an Egyptian Christian and his mother was a devout Irish Catholic. Guirgis attended Catholic schools in his primary and secondary years.

� e story of Judas troubled Guirgis deeply when he � rst learned it. If God is all-loving and all-forgiving, he reasoned, why can Judas not be forgiven? Guirgis later described this insight as “the beginning of the end of my Christian experience.”

College friend John Ortiz invited Guirgis to join LAByrinth � eatre Company, a tight-knit group founded in 1992 by 13 actors dedicated to showcasing Latino talent (LAB stands for “Latino Actors’ Base”). Guirgis was the � rst non-Latino artist invited to join the company. LAB developed and produced his � rst play, Francisco and Benny. Guirgis’ In Arabia We’d All Be Kings, directed by Philip Seymour Ho� man in 1999, helped to establish LAB as a major force on the New York theatre scene. All of Guirgis’ plays have emerged from the intensive, supportive development environment created by the LAB ensemble.

Between 2000 and 2005, Guirgis wrote a trilogy of critically-acclaimed, theologically-themed plays: Jesus Hopped the ‘A’ Train, Our Lady of 121st Street, and � e Last Days of Judas Iscariot. Judas saw its premiere in 2005 at � e Public � eatre with Philip Seymour Ho� man directing and Sam Rockwell and Eric Bogosian starring as Judas and Satan, respectively.

Judas has been widely admired for its juxtaposition of playful vernacular with profoundly sincere religious inquiry. � e New York Times’ Ben Brantley, commenting on the premiere production, noted how Judas re� ects “a � erce and questing mind that refuses to settle for glib answers, a gi� for identifying with life’s losers and an unforced eloquence that � nds the poetry in lowdown street talk.”

In making that remark, Brantley may or may not have known about Stephen Adly Guirgis’ life outside the theatre. Guirgis has worked extensively in violence prevention and HIV awareness with people in prisons, shelters, and hospitals. He has spent time in rehab. His plays illuminate the struggles of the downtrodden and rea� rm every individual’s potential for rehabilitation and redemption. His themes re� ect his life experiences.

Guirgis continues to enjoy critical and popular success. In 2011, � e Motherfucker with the Hat, starring Chris Rock, was nominated for a slew of awards, including the Tony Award for Best Play.

Today, Guirgis is co-artistic director of LAByrinth. In March he was awarded a Yale University/Windham Campbell Prize, among the richest literary awards in the world. Upon receiving the $150,000 prize, Guirgis pledged to “create new work for our theater and to be there for our young artists -- to aid their process in any way I can.”

- Simon Bloom and Sarah Polkinghorne

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art marketAN ART AND DESIGN SHOW & SALE

Saturday May 25th, 2013HARCOURT HOUSE ARTIST RUN

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WE ARE PROUD TO ANNOUNCE OUR VERY FIRST ART MARKET SALE! FEATURING OVER 25 VENDORS ALL UNDER ONE ROOF. JOIN US FOR SOME LOCAL ART, TASTY REFRESHMENTS AND EXCELLENT COMPANY.

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THANKS TO OUR SPONSORS!

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ENTRY BY DONATION

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Production Manager: Gerry van HezewykTechnical Director: Larry ClarkProduction Administrative Assistant: Jonathan Durynek Wardrobe Manager: Joanna JohnstonCutter: Ann SalmonsonHead Scenic/Stage Carpenter: Darrell CookseyScenic Carpenters: Barbara Hagensen Patrick MarchandScenic Art Supervisor: George Gri� thsScenic Art Assistant: Yilin ChenScenic Artists: Maria Burkinshaw Frances Girard Jonah O’Brien Allison Robinson

Properties Master: Jane KlineLighting Supervisors: Mel Geary Je� Osterlin

Head of Lighting: Camille MaltaisLighting Technicians: Laura Campbell Elijah LindenbergerSound Supervisor: Matthew SkopykRunning Crew: Lore Green

Directing � esis Supervisors: Sandra Nicholls Stefano MuneroniDesign � esis Supervisor: Robert ShannonStage Management Advisor: Betty Hushlak

� eological Consultation: Fr. Dave Bittner

Production Team

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Department of Drama FundEvery one of your dollars goes towards programs and productions during this academic year and is directed to the area with greatest need. With six undergraduate degree programs, six graduate degree programs, four theatres, over 25 in-house productions a year, and numerous workshops —we are a busy department!

Drama Student Emergency Bursary Endowment Fund� is fund helps all Drama students, from all programs, at crucial times during their academic career. Irregular and long hours in rehearsal make it very di� cult for Drama students to hold parttime jobs during the school year. Sometimes our students need to access the safety net this fund provides. Since the 2004-05 academic year we have distributed $13,500 to 29 students helping them get by when they needed it most.

Studio Theatre Endowment Fund� is endowment helps us purchase the supplies needed to create intricate and beautiful sets and costumes, replace and upgrade lighting and sound equipment, and it allows us to invite professional guest directors and artists to work alongside our U of A Studio � eatre student company. All donations are recognized in U of A Studio � eatre playbills and on the Department of Drama website. Gi� s over $10 receive tax receipts. Every gi� makes a di� erence and we deeply appreciate all contributions.

To arrange a gift, please visit: www.drama.ualberta.ca/Giving

Drama Department Funds that Need Your Support

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Since its inception in 1965, the University of Alberta’s Bachelor of Fine Arts professional theatre actor training program and its alumni have had a profound impact on local, national and international theatre, � lm, television and broadcasting arts.

� e UAlberta BFA actor training program is indisputably the premiere university program in Canada. As evidence, look no further than the far ranging and enduring careers of our graduates and their in� uence on the theatrical landscape of their times.

We are proud to count visionaries such as Paul Gross (‘97), winner of the 2009 Governor General National Arts Centre Award for Achievement, among our distinguished University of Alberta drama alumni.

Many of our alumni have been very successful in � lm and television. Carrie � iel (‘97) was the � ght choreographer for the Oscar-winning trilogy of � lms � e Lord of the Rings. Gemini Award winner Lorne Cardinal (‘91) starred in the television shows Corner Gas, Arctic Air and North of 60.

Multiple award winner Shaun Johnston (’90) appeared in Heartland, Jake and the Kid, Agent of In� uence, and Bury my Heart at Wounded Knee. Dion Johnstone (’97), has performed eight seasons at Stratford. Amanda Lisman (‘06) was hailed as “one of Stratford’s greatest leading ladies,” with BFA Acting classmate Alana Hawley (‘06) also joining her for three seasons at Stratford. Martin Happer (‘03), has been a � xture for � ve seasons at the Shaw Festival and still going strong. Gemini, Dora and Jessie award winning Carolyn Cave (‘99) is also regularly cast at the Shaw Festival.

Two of our recent graduates, Robert Markus (‘10) and Samantha Hill (‘11) are making big strides in their careers this season; Robert as Tommy in the rock opera Tommy! at Stratford, and Samantha as Christina in Phantom of the Opera on Broadway.

Laurie Blakeman (‘80) works o� stage but in the spotlight as a member of the Legislative Assemble and as Deputy Leader of the O� cial Opposition. She credits her BFA training for her stage presence, vocal power and speech making abilities

� ese are just a small, selected number of those making the University of Alberta’s BFA Acting unit proud, nationally and abroad.

We have many UAlberta artists working in Calgary, including Vanessa Porteous (‘96), as Artistic Director of Alberta � eatre Projects. And here in Edmonton, our graduates are the heart’s blood of the thriving theatre community. Many of

BFA ACTING ALUMNI

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the professional performance companies in Edmonton have a UAlberta acting graduate in a role of artistic leadership.

Brian Deedrick (‘79) recently retired from the Edmonton Opera a� er nine years of artistic directorship. Bob Baker (‘74) is Artistic Director at the Citadel � eatre, and he works with other alumni as artistic associates: Tom Wood (‘72), James MacDonald (‘89), and Geo� rey Brumlik (‘89).

Marianne Copithorne (‘82) is Artistic Director of the Freewill Players, a company that was founded twenty years ago by a cohort of BFA graduates. John Hudson (’88) is Artistic Director of Shadow � eatre. Steve Pirot (‘96) is Artistic Director of Azimuth � eatre and co-founder of NextFest. Je� Haslam (‘86) is Artistic Director of Teatro La Quindicina.

Many of our alumni are innovative artistic entrepreneurs as well. Kristi Hansen (‘03) is the cofounder of � e Maggie Tree. Vincent Forcier (’09) is the cofounder of Surreal So-Real; Jesse Gervais (‘01) and Amber Borotsik (‘01) are the co-founders of Windrow Performance; Mieko Ouchi (’92) co-founded Concrete � eatre and John Ullyatt(’93) co-founded Fire� y Aerial � eatre.

All of these innovative artists continue to hire our extraordinary graduates, and on any given year, the Edmonton Fringe Festival might see upward of 150 current and graduating students generating a multitude of productions.

- Kathleen Weiss, Chair, Department of Drama

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Saint Joan photos

1. Patricia Cerra. 2. Edmund Stapleton. 3. Cayley Thomas, Samantha Jeffery & Brett Dahl. 4 & 5. Cast of Saint Joan.

All photos by Ed Ellis

Sets, lights, costumes, and projections designed by Nathan Brown as his MFA Theatre design thesis project.

1 2

3

5

4

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The last days of Jesus of Nazareth� e Last Days of Judas Iscariot, like any courtroom drama, is signi� cantly concerned with the truth. Claims are made. Witnesses are questioned. Rhetoric is deployed. In the case of the Kingdom of Heaven and Earth versus Judas Iscariot, however, the “truth” occurred two thousand years ago and there are very few hard facts available to us. It’s worth considering how the Jesus story came to be.

In Jesus’ time, oral history was much more in� uential than written history. � e four books of the New Testament that tell Jesus’ story -- Matthew, Mark, Luke, and John -- are generally understood to have been written during the years 50 to 100 A.D., a� er Jesus had been dead for at least twenty years.

In 66 A.D., Jews in Judea revolted against their imperial Roman occupiers. � e uprising was quashed in 70 A.D. when the Romans destroyed the Great Temple in Jerusalem. In this context, with Jews struggling for the survival of their faith, many early converts to Christianity would have been shunned by their families and communities. In order to grow their church, Christians worked to broaden the appeal of their new religion across the wider Roman Empire. Some scholars argue that this imperative led to a so� ened, more hesitant portrayal of Pontius Pilate, and over time, to a depiction of Judas that embodied a villainous Jewish stereotype.

We do know that Jesus was a popular and controversial rabbi, the leader of a particularly peculiar sect with numerous disciples he kept very close to him. And we do know that Judas played a role in facilitating Jesus’ arrest by the Romans.

- Sarah Polkinghorne, with thanks to Fr. Dave Bittner

On purgatory and despairPurgatory is closely associated with Catholic doctrine, although its roots lie in ancient Jewish beliefs about the puri� cation of the dead. In � e Last Days of Judas Iscariot, Stephen Adly Guirgis joyfully plays fast and loose with the concept.

Purgatory is most o� en depicted and discussed as “the Gates of Heaven.” Catholic teaching reminds us, though, that purgatory is not a physical place bound by earthly laws of time and space. Rather, purgatory is a state of letting go, of making amends within our relationships, both with God and with our communities. If heaven is complete union with God, and hell is complete separation from God, purgatory is for those souls in between: those en route to heaven who have died and le� un� nished business behind.

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Traditional Catholic thought holds that souls arriving in purgatory are all heaven-bound. One cannot be demoted from purgatory to hell. However, with Judas, Guirgis has built a less doctrinaire, more irreverent world. Satan shows up to complain about the cafeteria food; Pontius Pilate and Caiaphus the Elder have de� nitely moved on to new avocations. People pass from hell to purgatory and back again.

Except, that is, for Judas. Judas has committed the sin of despair. Joyce Carol Oates, writing in � e New York Times in 1993, explains that despair “is the conviction that one is damned absolutely.” It requires a choice, a conscious turning away from forgiveness. When we � rst meet Judas, he is deeply mired in despair. Why and for how long are central questions in � e Last Days of Judas Iscariot.

- Sarah Polkinghorne, with thanks to Fr. Dave Bittner

The dialects of JudasUsually, when a dialect coach approaches a play, he or she can expect to be working on one or two dialects -- maybe a small handful if the characters are diverse. � e Last Days of Judas Iscariot is not your average play, however. It features fourteen dialects. When the setting is purgatory and major � gures from history can appear or disappear, anything can happen.

� is purgatory is unique too, because it looks and sounds a lot like the playwright’s home: New York City. When Simon � rst asked me to vocal coach the show, my knee-jerk reaction was: “How are we going to do that play?” How are we going to respectfully approach a play that was written for a New York company of actors who have very di� erent backgrounds than the actors here in Edmonton?

We honed in on the idea of archetype. Simon and I spoke about giving voice to people with real hopes and desires onstage, not just caricatures of stereotypes or historical � gures. Because the task looming ahead was gargantuan, I enrolled the help of an assistant, Bobbi Goddard, who has been invaluable in the process.

As Bobbi and I have worked with the actors, we have collaboratively cra� ed archetypes based on the words and sounds written into the text and on the actors’ imaginations. Sometimes we’ve made choices that haven’t panned out, but learning what doesn’t work is o� en the best way to learn what does work. As a cast, we have sourced countless videos from To Wong Foo to Pulp Fiction, listened to many audio samples, and practiced many sound substitutions.

Continued on Page 19

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Publisher, Sales & Marketing Manager Rob Lightfoot rob@postvuepublishing.com Art Directors & Design Charlie Biddiscombe charlie@postvuepublishing.com Mark Howden mark@postvuepublishing.com Sales Representatives Amanda Zotek azotek@postvuepublishing.com Andy Cookson andy@postvuepublishing.com James Jarvis jjarvis@postvuepublishing.com

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� e crazy part is that even once we’ve done all that, the work still isn’t done. Next, we have to deliver the text. A text, I might add, that is quite dense with the rhetoric of law and religion. � ese actors have been champions in face of a script that is challenging on many levels.

At the beginning, it seemed a daunting task to bring to life so many di� erent characters whose ways of speaking were informed by various gender, racial, ethnic, religious, and social backgrounds. Hanging out in purgatory, though, has taught us that we are more alike than we are di� erent. And as Fabiana believes for Judas, we all deserve to have our story heard.

- Elissa Weinzimmer, MFA � eatre Voice Pedagogy student

Continued from Page 17

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Administrative StaffKathleen Weiss: Chair, Department of DramaJulie Brown: Assistant Chair AdministrationDavid Prestley: � eatre Administrator / Events CoordinatorJonathan Durynek: Box O� ce Coordinator / Events AssistantRuth Vander Woude: Graduate Advisor / AdministratorConnie Golden: Undergraduate AdvisorHelen Baggaley: Administrative Assistant / O� ce Coordinator

With assistance from Faculty of Arts sta� :Salena Kitteringham: Fine Arts Communications LeadTerah Jans: Fine Arts Communications Marketing SpecialistJoanna Manchur: Fine Arts Recruitment Coordinator

Production StaffGerry van Hezewyk: Production Manager / Administrative Professional O� cerLarry Clark: Technical Director, Timms Centre for the ArtsDarrell Cooksey: Head CarpenterJonathan Durynek: Production Administrative AssistantMel Geary: Lighting SupervisorJoanna Johnston: Costume ManagerJane Kline: Property MasterDon MacKenzie: Technical Director, Fine Arts BuildingAnn Salmonson: CutterMatthew Skopyk: Second Playing Space Technician / Sound SupervisorKaren Swiderski: Costumer, Fine Arts Building

Front of HouseSta� : Bonita Akai, Danielle Dugan, Al Gadowsky, Becky Gormley, CaitlinGormley, Tasreen Hudson, Marie-Andrée Lachapelle, Laura Norton, EmilyPaulsen, Andrew Shum, Faye Stollery, Jane Toogood, Cheryl Vandergraaf,Catherine VielguthVolunteers: Cristian Badiu, Debbie Beaver, Susan Box, Franco Correa, AlanaDe Melo, Jonathan Durynek, Mary and Gene Ewanyshyn, Terri Gingras,Ron Gleason, Darcy Hoover-Correa, Marie-Andrée Lachapelle, Don Lavigne,Sareeta Lopez, Tom and Gillian McGovern, Marlene Marlj, Conner Meeker,Jennifer Morely, Carmen Nieuwenhuis, Alice Petruk, David Prestley, Catherine Vielguth, JaneVoloboeva, Diane Wright, Anisa Yousse� , Danoush Yousse�

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Heartfelt thanks to the individuals, foundations and organizations listed below for recognizing the importance of the arts by directly investing in the Department of Drama’s innovation and leadership in theatre training and performance.

A round of applause to our supporters!

� is list includes those who donated to various Drama funds from March 1, 2012 - March 31, 2013 . List compiled March 31, 2013. Apologies for inadvertent omissions or errors. Contact 780-492-2271 for changes.

Donors

St. Peter’s Anglican Church ACWAllan StichburyRichard & Rita TaylorTerrance O’Connor Award FundIsobel � omasSheryl Turner� omas UsherGilda L.F. ValliHenriette van HeesCarlye S. WindsorJerry & Deborah YeeStephen YorkeJohn R. Young

In KindDavid Adam & Rose Liu-AdamErica BoetcherJill ConcannonPamela ConstableEstate of Pro Rhey Mond DeproEster FragaMel GearyDavid JonesVincent KadisRosalind KerrKaren M. SwiderskiRon LavoieDavid L LovettLarry MacInnisDon MackenzieAnn MalyjJoanna & Travis ManchurBrian & Lorraine McDonaldPhilip & Kathleen MulderDavid PlachDavid PrestleyElla ReidtRobert ShannonMichelle WarrenKathleen WeissDonna R. ZukVarious Anonymous Donors

Derek & Mary Gri� thsKelly HanderekBohdan & Elaine HarasymiwAlex & Joan HawkinsMurray & Pauline HawkinsChristopher HeadStephen HeatleySteven HiltonPavel & Sylvia JelenAzim & Shenaz JerajJim & Sheila Edwards Family FundM A KeeneGerald KendalJane KingPatricia LanganNicole MalletJohn & Peggy MarkoGordon & Norma McIntoshRod & Heleen McLeodPamela A. MilneRod and F June MorganBetty MoultonPeter & Elaine MuellerAudrey O’BrienDale OlausenJack & Esther OndrackJosephine Pilcher CormackV PorteousPatricia RoccoBente RoedHelen J RostaKenneth & Joan RoyValerie SartyAlan & Ramona SatherPeter & Olga SavarynAlison Scott-PrelorentzosJan Selman & Curtis PalmerAlbin ShanleySol & Shirley SigurdsonPhillip SilverO. Francis SitwellDaryl SpringerBrian & Marion Sproule

Baha & Sharon Abu-LabanLeonard & Ella May ApedaileDorothy AyerBacon Family FundDouglas & Annalisa BaerJoan BairdRoderick E BanksDavid Barnet & Edith MitchellWilliam & Carole BartonKarin BasarabaJim & Barb BeckLindsay BellCarl & Doreen BetkeWilliam & Kathleen BetteridgeRhoini Bhatia-SinghAlan BlevissJulia M BobergM. Elizabeth Boone & Marco KatzDonna BornhuseRichard BowesAngela BreadnerDavid Brindley & Denise HemmingsJulie Brown & Joseph PiccoloLinda BumsteadAdolf & Kathleen BuseCampbell Family FoundationRachel ChristopherBrent ChristophersonPenny CoatesFaye CohenDavid CormackLesley Cormack & Andrew EdeDaniel CunninghamBrian DeedrickDyer Financial Strategies Ltd.Mr W Gi� ord EdmondsJim & Joan EliukLarry EthierJohn & Bunny FergusonShirley Gi� ordSheila Gooding Melvina M. Gowda

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