A STUNNING WORLD PREMIERE,
Galilee 34 blends the divine and profane
in its exploration of early Christianity
Eleanor Burgess, a prolific playwright whose works have graced numerous stages (The Niceties, Wife of a Salesman) and who has penned scripts for several television series (Perry Mason, Interview with the Vampire), offers us the world premiere of Galilee 34 at South Coast Repertory. This theatrical piece offers a bold and intellectually stimulating examination of the individuals central to the nascent period of Christianity, emphasizing their humanity over their theological import. Situated in a humble Galilean backyard of antiquity, the narrative unfolds through the conversations of Yeshua’s (Jesus’s) nearest kin and disciples, revealing a raw perspective on their existence post-crucifixion.
Sharon Omi and Amy Brenneman
The narrative’s potency is derived from its exploration of universal concepts such as kinship, heritage, and faith, as seen through the experiences of historical personages like Miriam (Mary, mother of Jesus), Yacov (James, brother of Jesus), Miri of Magdala (Mary Magdalene), Shimon (Simon Peter), and Saul of Tarsus (Paul the Apostle). Burgess demonstrates a remarkable aptitude for crafting a tale that resonates with those who have wrestled with the aftermath of monumental events or figures, thereby rendering the script both accessible and pertinent.
Raviv Ullman, Benjamin Pelteson and Eric Berryman
Raviv Ullman, Eric Berryman and Christopher Cruz
The employment of modern vernacular and the direct engagement with the audience act as conduits, bridging the temporal chasm between an ancient milieu and contemporary spectators, thus amplifying the play’s thematic relevance. This methodological choice not only dispels the sanctified aura typically associated with biblical characters but also instills a palpable sense of immediacy and exigency within the dialogue.
Teresa Avia Lim and Christopher Cruz
Amy Brenneman and Eric Berryman
The erudite discourses among the characters regarding the essence of belief, the warping of messages through the ages, and the juxtaposition of private and public mourning and conviction provide fertile terrain for contemplation. For this agnostic critic, the play’s transcendence of religious dogma to probe the wider human experiences of skepticism, legacy, and the pursuit of authenticity was particularly engaging. The characters do not proselytize; rather, they openly interrogate and contend with their experiences and convictions.
Teresa Avia Lim
Teresa Avia Lim and Benjamin Pelteson
Galilee 34 neither presupposes nor necessitates faith in the religious stature of its characters, which may captivate and involve viewers who are either skeptical of or unacquainted with Christian doctrines. Instead, it depicts these figures as deeply fallible, uncertain, and relatable beings, ensnared in universal quandaries. This humanistic approach permits the play to resonate on a secular plane, offering a narrative about the repercussions of an influential individual on his adherents and kin, a story of universal resonance.
Raviv Ullman, Benjamin Pelteson, Eric Berryman. Amy Brenneman
The dialogues concerning the manner in which tales are recounted and memorialized are especially moving. As the characters grapple with their recollections of Yeshua and their decisions on what to proclaim about him, the play beckons the audience to ponder the shaping of narratives and the frequent molding of truth to suit needs or expectations. This meta-theatrical element presents an intriguing commentary on the potency of storytelling and the construction of cultural and historical narratives.
Eric Berryman, Amy Brenneman, Raviv Ullman and Benjamin Pelteson
Furthermore, Burgess’s script is imbued with wit and irony, providing both lightness and a critical stance that challenges conventional depictions of biblical events and personages. This not only renders the play more enjoyable but also more provocative, as it opens avenues for interpretation and discourse.
Teresa Avia Lim, Raviv Ullman, Benjamin Pelteson, Eric Berryman
Among the uniformly distinguished cast, it is challenging to single out standouts. Amy Brenneman, with her extensive experience in stage, television, and film, brings the requisite gravitas to the role of Miriam, Yeshua’s mother. Teresa Avia Lim, a lauded New York stage actress, exhibits both comedic flair and fervor as Miri of Magdala. Christopher Cruz is exceptional in his portrayal of two different roles, so convincingly that this critic was nearly persuaded that two separate actors were involved.
Benjamin Pelteson
The direction by Davis McCallum, celebrated for his directorial achievements at Playwrights Horizons and the Hudson Shakespeare Festival, is precise and unadorned, coaxing robust performances from the ensemble. His tonally balanced guidance ensures that the play’s lighter interludes do not detract from its grave themes, and vice versa, sustaining a coherent narrative that captivates the audience throughout.
Jeremy Rabb and Benjamin Pelteson
The set design by Sandra Goldmark features a desert patio with mountains and a fence, and to the stage’s right, a partially concealed wooden shed or house. The costumes by Dina El-Aziz blend modern and historically evocative fabrics, suitably reflecting the duality of the historical context and the contemporary dialogue. Josh Epstein‘s lighting design adeptly utilizes nuanced shifts to denote different times of day and emotional transitions.
Eric Berryman
Raviv Ullman
Galilee 34 is a commendable theatrical endeavor, distinguished by its capacity to peel back centuries of theological accretions and lay bare the unadulterated human sentiments and conflicts at the core of a defining historical juncture. Its allure lies not solely in its dissection of Christianity’s genesis but in its disquisition on the crafting of any narrative and the genuine individuals behind it. The play’s approach renders it a compelling spectacle not only for those with an interest in religious history but for anyone intrigued by the intricacies of human nature and the perennial inquiry into the essence of belief in entities beyond oneself. I believe this premiere right next door is poised to be a success for South Coast Rep.
photos by Robert Huskey/SCR
Amy Brenneman
Galilee, 34
South Coast Rep
part of the Pacific Playwrights Festival
Julianne Argyros Stage, 655 Town Center Drive in Costa Mesa
ends on May 12, 2024
for tickets, call 714.708.5555 or visit SCR
