If the tagline of the Frank E. Flowers’ film Haven was ‘can love survive the fall of Paradise?’, perhaps the tagline of The Judith Code, should be ‘can love survive terrorism?’
The answer in both cases was no, although in The Judith Code, it can be argued that a greater kind of love – the love of God – not only survives, but is victorious.
Based on the Book of Judith, which is included in only certain Bibles, The Judith Code tells the story of a wealthy widow who helps end a reign of terror.
Instead of being set in biblical times, however, co-playwrights Colin Wilson and Dody Denman set the story in the modern day world, replete with modern day troubles.
The villain of the biblical story, Holofernes, was the invading general of the Assyrian army who came to wipe out the Jews in the town of Bethulia. The baddie in The Judith Code, also named Holofernes, is a terrorist acting in the name of Muslim freedom fighters who wants to blow up the Bethulia Building and a whole lot of other things.
Living her life under a code of ‘love, honesty and faith in god’, Judith must defend her business interests and the lives of thousands of innocents against the plans of Holofernes, while at the same time remaining true to her beliefs.
The playwrights tie the heroine Judith together with Holofernes in the prologue by making them young lovers in the Middle East. But she’s a Jew and he’s an Arab, so their relationship is headed for disaster from the beginning.
Deon Mattis turns in a fine performance as Judith, and Gerald Watts is good, although somewhat inconsistent, as Holofernes.
Veteran local actor Bill Bewley gives another solid but short one-scene performance as Uzziah.
Superbly providing comic relief is Maria Kennedy, who plays Holofernes’ demented and sadistic hermaphrodite first lieutenant Angel, who has a sexual penchant for both men and women.
Heavy with political and religious themes supporting a complex storyline, The Judith Code requires the audience to concentrate, and at nearly three hours in length, this could be too much to ask from some play-goers.
The drama’s powerful denouement is somewhat reduced by an overly simplistic epilogue that attempts to put a happy face on murder.
With its didactic religious message, The Judith Code will probably appeal most to the devout; however they are the very people who might also be the most offended by the deviant sexual references and situations proffered throughout the play. The serious adult content of The Judith Code is therefore not suitable for children or the overly prudish.
Still, The Judith Code raises issues seldom tackled in local productions, providing a nice change of pace in Cayman’s annual play calendar.
The Judith Code concludes its short run with performances this Friday, Saturday and Sunday. Staged at Saint George’s Anglican Church Hall, all the proceeds from ticket sales go to the church’s rebuilding fund.
The play will return for a longer run next year as a production of the Cayman Drama Society from February 16 through March 3 2007.
For information about this weekend’s performances, call 323-0300 for more information.
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