Customer Reviews

A Jesuit Off-Broadway

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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.

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!

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".

Diagnosed with Parkinson's Disease, I have been looking at books that help me walk the journey ahead. I had thought a Jesuit author would be a little "heady" for me, but I couldn't have been more wrong. James Martin took my daily life and bridged it beautifully with my need to integrate a great desire to become closer to God and a doctor's advice to slow down. It never ceases to amaze me that God brings people, TV shows, books and stories that become "ah-ha" moments. Not only in his book, A Jesuit Off-Broadway, but also in the earlier one, Becoming Who You Are, Martin enlightened my path. This 80-year-old mother who is a Benedictine Oblate needs this Jesuit's writing!

This is a fine book. Very insightful. It tells the story of the creation Stephen Guirgis' highly regarded play, "The Last Days of Judas Iscariot" and the Jesuit priest who served as technical adviser for the production. I recommend this book to anyone interested in the following: creativity and the creative process; spirituality; Jesuit thought; Buddhism; Phillip Seymour Hoffman, Sam Rockwell, Stephen Guirgis, John Ortiz, Eric Bogosian; living, breathing, present-day cutting-edge New York theater. James Martin writes in fluent, effortless prose and continues to establish himself as author whose writing transcends any genre. A tour-de-force. I can't recommend it enough.

If you are (as I have been) a spiritual seeker hungry for a faith that is informed by reason, this book will explain "life in first-century Palestine, what the great spiritual masters said about despair, detachment and poverty of spirit; whether one can rely on the historical accuracy of the Bible" and more; I find this an essential part of my reference library. More than that, Fr. Jim tells the stories of some wonderfully creative people at various places in their spiritual journies. This helped me feel understood and validated. I think it can also help religious leaders better understand those they seek to evangelize. Plus, it is just a great adventure story about the theater!

Often people are not all that curious as to what makes a heroic character heroic. Perhaps it's because the bold actions of a heroic person can speak for themselves. Take Rosa Parks as an example. It doesn't matter why Rosa Parks refused to give up her seat on a bus, an action that spearheaded the Civil Rights Movement. Her action is enough. However, when it comes to traitors, we're more than curious. Why did Brutus betray Julius Caesar, his close friend? Some historians claim Benedict Arnold could have been a great leader in a new nation? Why did he turn sides? Of all traitors/betrayers/turncoats in history, the one who causes the most speculation is Judas Iscariot, the infamous (?) apostle who sold Jesus for thirty pieces of silver.

Judas' actions have caused questions, questions that are centuries old, as the recent discovery of the Gospel of Judas demonstrates. We wonder, why did Judas do what he did? Was he jealous of Jesus? Disappointed? Was he trying to cause Jesus to act? Stephen Adley Guirgis pondered the question of Judas and the result was the play THE LAST DAYS OF JUDAS ISCARIOT. The play is set in a courtroom and Judas is put on trial, giving him the opportunity to either explain his actions or perhaps seek forgiveness. Guirgis wanted accuracy so he sought out a "theological advisor." Jesuit priest James Martin seemed well suited for the task and the book tells the story of his first becoming involved in the project to his follow through when the curtain falls for the last time.

Martin weaves a number of different threads together as he shares his experiences as an advisor for the play. Readers see how a play develops from an idea to a finished product, growing and changing numerous times along the way. We also get a glimpse at how a theater company works, in this case the LAByrinth Theater Company in New York City, and the varied personalities that populate the group. We see the frustrations of the company as the play develops ever so slowly, as well as the way it finally takes shape. Martin also introduces readers to current biblical scholarship regarding the New Testament as well as concerns regarding contemporary biblical interpretation.

The book's greatest strength is not the information about scripture, nor is it in how a play comes to life, as compelling as both can be. Throughout the book we see relationships develop between Martin and the writers and cast. We learn of their struggles with faith for some and the strong faith of others. We see Martin go from being an advisor, almost an outsider looking in, to an integral member of the production and in a real way we see communal bonds develop. Martin is changed from the encounter, and no doubt the others involved were too.

While A JESUIT OFF-BROADWAY tells a number of different stories, James Martin's ministry as a priest is what holds the book together, and for me it's a compelling read. Priests serve God in a myriad of ways, and while it may be a bit cliché, a priest never knows how God will be found in any given situation. James Martin's task was to answer questions so a play on a religious matter would be theologically accurate. Far more happens in this book, and as the book progresses, the advising becomes less and less but relationships develop and God's hand can be seen at work and God's presence can be found. This is the ministry of a priest, regardless of the setting. It is what happened during the production of THE LAST DAYS OF JUDAS ISCARIOT and it is what happens in parishes, schools, hospitals, prisons, and just about anywhere else priestly ministry takes place.

A very interesting description of the creative process behind the writing of the script. It is written in a the story telling style, like most of James Martin's books. It is a deeply personal account of the book author experience as the theological advisor. It is profound, funny, serious, spiritual and theologically based. It offers a vivid picture of the multidimensional soul of humanity. It is also a book that teaches fundamental truths and views from the pespective of Catholic religion and others. It uses a day to day language, easy to read. The play uses a colloquial and slang NY street vocabulary, easy to grab your attention. At the same time, encourages serious thinking and learning.
The actors are depicted as regular human beings, individually, personally, with their acting greatness, but also with their doubs, sufferings, conflicts, interior conversions, failures and anxieties, influenced or soothed, by the study of their own characters in the play: "The Last Days of Judas Iscariot". The book title is perfectly descriptive of the hard work behind the scenes before a theater play is presented to the public. The presence of the priest as theological advisor is well integrated in the development process of the play. He is very human and understanding, though he helps to guide and keep the biblical story in check. The last chapter summarized the spiritual impact that, as advisor behind the scenes, the process had on the author himself, James Martin SJ. I would recommend this book for anyone interested in the diversity of lives, theater, playwriting, or just in the arguments about Judas life and death, doutbs and forgiveness, then and today.

As a fan of James Martin's writing, I was anxious to read and review his latest book. That anticipation paid off - A Jesuit Off Broadway is well written, captivating and thought provoking. This book will speak to anyone who has wrestled with life's greatest questions, whether or not you are a "religious" person. Martin writes with an authenticity that is infectious. His recounting of his experience consulting with an off Broadway production gives the reader insights into the inner working of theatrical work, but also into the relationships formed over many hours of spiritual and philosophical discussions. Great book!

Because of Fr. Martin's presence with the cast, each member grew tremendously in their faith. I recommend this to all Clergy. Father William T. Burke, S.J.