There’s even a Greek chorus, which takes the form of the Fury-esque Triple Goddess of the Maiden, Mother and Crone, though they are credited as II (Hannah V. Kauffman), III (Ashley Weingardt), and IV (Barbara Geary).
The Furies add an odd comedic element to the show, mostly taking the form of awkward slapstick. At other points, they provide rapid-fire lines in tandem, saying nothing or beating you over the head with their point.
Judas Iscariot (Alex Knight) is the most conspicuous traitor selected for view, followed closely by the great American traitor, Benedict Arnold (Chad Christensen-Brummett).
Joseph McCarthy rounds out the triad as the last historical figure. While not actually a traitor (though one could argue his fanatical rabblerousing were treasonously detrimental to the country), he stands more as a way to root out the play’s traitors.
The Furies float the audience surreally through time, and the thematic connections you are expected to make quickly become clear.
Judas emerges as a modern chain-smoking, foul-mouthed, thugged-out punk, while Jesus, (Nathan Simpson) is pretty much just Jesus.
Judas’ opening monologue tries too hard to be “hardcore,” but thankfully his part settles, giving Knight a chance to become his part.
It’s a pleasure to say the acting is the show’s strongest part. Performances across the board are engaging in the least and enthralling at best. Knight’s Judas and Christensen-Brummett’s Arnold are captivating, even when the some of the ridiculousness of their words overwhelm everything else.
The dialogue is strong, too.
When all the weirdness strips away, leaving just people with people, the words exchanged are purposeful and appealing.
Arnold is portrayed as something of a Captain Ahab past his prime — insane and nursing a crippled leg.
Benedict Arnold, his wife, Peggy (Stephanie Grilo) and the young British Major John Andre (Drew Morrison) find themselves in something of an Arthurian romance.
Arnold’s mumbling insanity falls mostly to the background as Peggy’s virginal Genevieve succumbs to Andre’s Lancet, both serving his commander and wanting to service his wife.
In so many words, “Traitors” asks the audience to forgive the characters. You’re asked to forgive Benedict Arnold for his bitterness and betrayal because of a fictitious mental illness.
You’re asked to forgive Andre for his love for another man’s wife, excused by his fictitious noble death in battle (Andre was, in fact, hanged as a spy, and his capture was the reason Arnold’s treason was discovered.)
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In Judas’ case, you’re asked to forgive Him because Judas and Jesus were both in on the whole “betray and murder me” thing.
McCarthy fills out as occasional comic relief and is hardly onstage. His anti-communist lynch mob takes out Jesus, but it’s a funny way to ask for forgiveness if American fear-mongerers are the angry, ignorant souls who killed mankind’s savior.
Once the Benedict Arnold arc wraps up with Andre’s senseless death, the whole of Arnold’s tale seems insignificant.
He’s pathetic, old and not in control of his life. His wife exists to quote scripture and connect with the “analogous” story of Jesus.
And thus the real purpose of the script becomes clear: to praise Jesus Christ and his gift to mankind. The play tries to humanize and personalize Jesus, but there are too many “the Son of God” references, not to mention references to His divine miracles and His general exalted nature. They ring hollow.
Even so, the acting is top-notch, and much of the dialogue is meaningful and written with love.
Traitors by Kristen D. Simpson
Directed by Summer Olsson
UNM Theatre X
Thursday, Friday and Saturday at 8 pm
Sunday at 2:00 pm til December 12
$10 Staff and Students
UNMTickets.com or call (505)925-5858
