Experiencing The Book of Judith

I am writing this in response to several reviews of the play “The Book of Judith”. These reviews were published during the first week of the play’s run in the revival tent at 1001 Queen St. W. One review was on the CBC’s National Friday May 22, created by Sandra Abma. Other’s were published in Eye Magazine, Eye Weekly, National Post and more.

And then there are the members of the audiences who have been commenting and e-mailing in numbers at every performance. And the choir.

I cannot be objective. This play – my play? – has been and continues to be a wonderful, terrifying and funny journey, all at once. None of the reviews, even the ones like the National which took a real stab at doing more than simply describing the basics, have not come anywhere near the actual experience of creating, then living, The Book of Judith.

I am most surprised and moved by the stories that choir members have shared with me. Most members are volunteers who have been labelled with a “disability”. Throughout the performance they are the Greek chorus: speaking my words, directing the audience, supporting Rubenfeld’s character’s transformation. One by one, as they grew into their role, many choir members have told me tales of how this play is supporting their own transformation, deepening a personal sense of power, liberating sexuality, strengthening vision and dream.

This effect among cast members is in many ways an unexpected treasure for me. I have given my life to breaking open the cage that the myth of disabled and normal confines people in. Yet in this play, in this nearly messianic, religious revival, interactive and spoofy over-the-top musical, the cage is utterly evapourated!

Don’t get me wrong – audiences are being deeply moved as well. The journey is far from smooth. People are personally engaged – with each other as well as with the cast. Andrew Penner wrote original music for the play. His tunes are like a spider’s web. With Rubenfeld’s energy, Penner’s melodic seduction and the choir’s invitation there is no escaping the joy, annoyance and struggle of the engagement. Although some have complained, many are returning for a second experience, and several have spoken or written to me, Michael Rubenfeld, Sarah G. Stanley, Alex Bulmer, Andrew Penner and other cast members about how they were deeply connected and changed in the performance.

The Book of Judith is a miracle disguised as a play about miracles.

Judith