BENNINGTON – When the poet Randall Jarrell penned his classic World War II poem, “Eighth Air Force,” he invoked the image of Pontius Pilate washing his hands in a bowl to symbolize he wanted nothing to do with any responsibility for the death of Jesus Christ. Importantly, Jarrell, while musing on the collateral civilian damage done by mass bombings of Germany doubled down on the Gospel recounting that Pilate found no issues with Christ.
This thought came back to me last weekend at Bennington’s Monument Arts and Cultural Center (MACC), while attending the American premiere of Michael Punter’s one-man play, “The Lost Gospel of Pontius Pilate,” with direction and production supervision by Kristine Lewis. The show starred veteran British-American stage, TV and film actor Maxwell Caulfield.
Caulfield’s association with Punter was initiated by a recent tour co-starring with his wife Juliet Mills in “Darker Shores.” The couple fell in love 45 years ago in Jack Hofsiss’ Tony-winning production of “The Elephant Man,” and married in 1980.
The play is a robust but still crisp 75 minutes of monologue by the titular character, who served as the fifth governor of the Roman province of Judaea, serving under Emperor Tiberius from 26-27 to 36-37 AD. He is best known for being the official who presided over the trial of Jesus and ultimately ordered his crucifixion.
It’s the year 36 AD and Pontius Pilate (Maxwell Caulfield), has been recalled to Rome to account for his political excesses. However. Pilate’s testimony isn’t one that Rome expects. Instead, it’s a story of intrigue, intelligence and betrayal across the Middle East. At its heart is Pilate’s encounter with a peculiar rabbi from Nazareth called Jesus, who apparently has been increasing in popularity — and in enemy-making — among his own people.
Punter tackled the story as part memoir and part thriller — all markedly retold for today’s dramatic consumption.
Only one word here for Caulfield: sublime. On a stark stage with a butcher block table, a chair and two log-split benches, a bottle, a glass, and the script which he rarely consulted, Caulfield glided through the rich language of the show with grace, aplomb, and a little dash of elan as needed.
Clad in a dark suit with the clever accent of a Roman legion scarlet-hued tie, he worked through both Pilate’s recounting of his life and career, as well ad the feeling and thoughts therein. His treatment of Gospel story of Jesus’ trial and ultimate conviction at Pilate’s hand was both respectful – and deeply moving.
But in both history, literature, and religion Pontius Pilate has always had a split reception, which is what makes him such an intriguing subject for any modern storyteller. My own memory of Jarrell’s war poem addressed both ruthlessness, and grace. Caulfield
Sound by Garret Currier, lights by David V. Groupe, and projections supplied by Sal Vivano all excelled. With Lewis in charge, this has become the standard for all MACC production.
As a nice touch for all ticket holder, the MACC held an English tea afterwards hosted by Caulfield and Mills.
Even if just for a one-night exclusive, an American premiere is a big deal, and this is the kind of top-shelf production Lewis and her deep industry connections have been able to bring to the MAC. No doubt there is more on the horizon, and we will be the better for it.
The MAC is located 44 Gypsy Lane, Bennington. For information or summer programming visit monumentcentervt.org, or call 802-318-4444