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“Judas then, having received a band of men and officers from the chief priests and Pharisees, cometh thither with lanterns and torches and weapons.”
- The Gospel according to Saint John, Chapter 18
"No, it makes perfect sense. Unfortunately. But I imagine that it will only make complete sense to you in the end. When that moment comes, Judas, remember my words: we were both chosen, but we were not helpless. It was not pre-destined. At any moment, we could have rejected the mission God gave us, but neither of us did. That is because God, in His infinite wisdom, knew that we were both entirely suited to the tasks He would assign to us. Remember, if your presentiment is correct, that you were the most suitable candidate for whatever task you shall eventually perform. You may not know why exactly; you will simply know that you were the right choice. For you, even more so than it was for me, I imagine it will be an overwhelming burden."
- The Virgin Mary, Act II, Scene VI, Magdalene by Gareth Russell
The fourth day of Holy Week is sometimes known as "Spy Wednesday," because it commemorates the day on which Judas Iscariot betrayed Christ to the Sanhedrin, agreeing to facilitate His arrest on the following day, in return for the princely sum of thirty pieces of silver.
Judas, as a character, is one I have grappled with, with unintentional degrees of success, apparently. In 2006, when The Da Vinci Code mania was at its height, the historical elitist in me took such umbrage at its presentation of early Church history that I began to research the life of Saint Mary Magdalene, with the thought to do a play based on her life, as it is recorded in the Bible and the Apocrypha.
The result, Magdalene, was set in a generic "modern" setting and followed Mary's life from her time as a victim of demonic possession to the Passion of Holy Week. Apart from the main characters of Mary, Jesus and the Virgin Mary, the supporting characters included three of the Apostles (Saint Peter, Saint John the Evangelist and Judas Iscariot) and three of Christ's female followers (Saint Johanna, Saint Veronica of the Veil and Christ's aunt, Mary, the wife of Cleopas, whose name was changed to 'Maria' in the play to avoid confusion with the other two Marys.) Christ's adoptive father, Saint Joseph, also featured briefly in two scenes early in the first act.
In fairness, some apparently found the play irksome - a few objected to the presentation of the Virgin Mary, Maria Cleopas and Johanna as aristocrats, although I was simply following the ancestry given to her by 1st century Jewish evangelists and, in Johanna's case, the Bible describes her as the wife of a palace aristocrat. Others thought that it was pushing female priesthood or that, paradoxically, it was "too Catholic," that it was promoting the idea of the Virgin Mary as a mediatrix, that it rinsed the idea of Justification By Faith or that it was too pro-Christian in general. Others were more kind and I was delighted with the very kind letter of recommendation Rev. Dr. Andrew Moore of Oxford's Faculty of Theology wrote for the second run of Magdalene in 2007.
As I have said, Magdalene has so far been performed twice - once in Oxford in December 2006 and again in Northern Ireland in September 2007. Recently, when I was discussing some of my work, a friend (who has seen every play I have written since All Those Who Suffered in 2004) declared that he thought Judas was the best character I had ever written. I was somewhat taken aback - flattered, certainly, but also surprised - because during the writing of Magdalene, I had spent far less time crafting Judas than I had some of the other characters and, moreover, Judas only speaks at length in three scenes during the entire play. When I put this to another friend, they also concurred that Judas was the best-written, alongside Gabrielle de Polignac in The Audacity of Ideas.