Phil Potempa, The Times of Northwest Indiana:
Silk Road Rising masterfully presents PAULUS by Motti Lerner, while seizing the hearts, minds and souls of the audience by way of a talented cast under the direction of Jimmy McDermott. Much of the spiritual and soul-searching tug-of-war is between a 62-year-old Jesus, played delicately by Torrey Hanson and the ego-maniacal, instrument strumming Emperor Nero, as portrayed with superb sense-of-self, by the talented Glenn Stanton. In the title role, Daniel Cantor crosses all boundaries with believable passion and conviction as Paulus, faithfully tended to by servant Trophimos, with the wonderful wit, craft and timing of actor Anthony DiNocola. Add to all of this the stunning and striking performances by actresses Dana Black as Princess Drusilla and Carolyn Hoerdemann as Adima, both strong female characters devoted to the title character, and scene after scene serves up the audience a new confrontation and exploration of the conflicting collision of the Christian and Jewish faiths during this time. Actor Bill McCough completes the stage equation as the calculating high priest Hananiah who is eager to expose and dispose of Paulus. Dan Stratton offers a stark yet inventive and functional set design, nicely coupled with the costumes of Elsa Hiltner, Rebecca A. Barrett's lighting and Jesse Gaffney dreaming up some amazing props (an infant and a lamb, both recently succumbed, are especially impressive). The other quality that transports the audience for this theater experience is the sound design and original score by Peter J. Storms, who blends traditional western instruments like organ, dulcimer and zither with world intruments like rebab, Native American flute, Chinese percussion and kalimba.
Bonnie McGrath, Blogger for ChicagoNow
If you've ever wondered what life was like in Judea/Rome after the Resurrection, during the time of Paul's apostolic journey, you MUST see Silk Road Rising's "Paulus" ASAP! Written by an Israeli Jewish atheist, Motti Lerner--and produced by our own Malik Gillani and Jamil Khoury--it's just fabulous!!! "...Jesus and Paul, two radical Jewish visionaries...." is how the program notes describe the two main characters. Then there's an interesting Nero; and a Jewish high priest who gives you a lot to think about; not to mention two startlingly outspoken women of the first century who also have a lot to say! You won't believe how creative and interesting this play is. You have about a month...but it's a busy month coming up, so be sure to make time!!!
Alan Busch, Examiner.com
The close proximity of the audience does not afford the Paulus cast any portion of the anonymity that I think casts in larger theaters enjoy. Put another way, it was mighty cozy in there almost as if the audience had been empowered to steer the course of events to its own liking. In what was the most gripping of scenes, I could see the spray of spittle jettisoned from the lips of lead actor Daniel Cantor in his portrayal of disciple Paul of Tarsus pleading his cause before the arrogant and boorishly self-indulgent Roman procurator whose hangmen tightened their remarkably authentic-looking nooses around Paulus's neck and that of his loyal servant whose passionate defense of his master was exceeded only by his verbosity of which I too have been accused. 5 Stars! *****
Al Bresloff, Around the Town Chicago
Silk Road Rising is one of my favorite troupes. Written by a Jewish Atheist, we look at the Messiah and what he might have been had his life gone longer than that which is written and taught. Both of our “heroes”, Jesus and Paul are of the Jewish faith, each hoping to save their people from what might happen to them and to somehow unite their people to believe in the same teachings. Was Paul attempting to complete Judaism, making it the perfect religion? Or was he seeking a way to unveil a new religion that altered what was in the original 613 Commandments? Daniel Cantor was a powerhouse as Paulus. Nero was deftly handled by Glenn Stanton and the two ladies, Dana Black and Carolyn Hoerdemann were as stunning as they were believable. The original music (Peter J. Storms) is unique.
Hedy Weiss, Chicago Sun-Times
Part Biblical pageant, part theological argument play, “Paulus,” which is receiving a richly atmospheric production, looks back to the period when, after the crucifixion of Jesus, the title character (born Saul), split from traditional Jewish doctrine, converted to Christianity and proclaimed Jesus as the Messiah. In a nutshell at the core of Paulus’ dramatic shift is a rejection of the notion that believers should strictly abide by the 613 commandments of Jewish law. Instead, he wanted to spread the gospel and welcome gentiles into the fold, creating a more open and immediately rewarding sense of salvation. Artfully directed by Jimmy McDermott (on a fine set by Dan Stratton), the cast is strongly led by Daniel Cantor as the brutally abused Paulus, with Anthony DiNicola as his sweet, Sancho Panza-like attendant; Torrey Hanson as an aged “ghost” of Jesus; and Bill McGough, Dana Black, Carolyn Hoerdemann, Glenn Stanton and D’Wayne Taylor in supporting roles.
Tom Williams, ChicagoCritic.com
Trying to write and stage a religious play, especially one written by a Jew about a key figure in early Christianity, is a tough task to pull off. PAULUS may stretch credulity and be a tad too much for many to handle yet it is daring, provocative and enticing work. It will bore some, offend others, and yet I found it theatrically appealing in a strange way. It sure challenges us to think, analyze, and consider the nature and essence of our beliefs. The cast works hard to humanize this religious story that finds Daniel Cantor playing Paulus as a uncompromising zealot while Bill McGough has Hananiah as his chief foe. D’Wayne Taylor, as Lysias, is pure emotions while Dana Black gives Drusilla a splendid unanimity. Glenn Stanton is terrific as the singing Nero. Anthony DiNicola is empathic as Trophimos, Paulus’ loyal servant.
Lauren Whalen, Chicago Theatre Beat
The stories of Jesus, his disciples and the trouble they caused have great potential for artistic interpretation. Silk Road Rising has invested a great deal of time and energy in PAULUS, one such story chronicling the Apostle Paul and his uphill battle to universalize monotheism. The passionate theater company worked with Israeli playwright Motti Lerner, commissioned Hillel Halkin’s translation and hosted readings and workshops surrounding the play this past year. Some aspects of PAULUS, such as its production values and cast, are incredibly successful. Rebecca A. Barrett’s lighting is gloriously moody, a perfect match for Peter J. Storms’ original score, an innovative blend of traditional Jewish and Christian musical forms and American shapenote singing. Dan Stratton’s set and Jesse Gaffney’s props incorporate PVC pipe in incredible ways, and Paulus’ bright red garb speaks well to costume designer Hiltner. Additionally, PAULUS boasts an excellent cast ably led by director Jimmy McDermott. Dana Black’s rich speaking voice is a pleasure to listen to, and D’Wayne Taylor handles intensity well as an alcoholic leader. Torrey Hanson is appropriately guarded as the reimagined Jesus, and Daniel Cantor’s Paulus is never anything less than genuine and dedicated. As Greek servant Trophimus, Anthony DiNicola provides comic relief and real angst without going over-the-top. Glenn Stanton is the play’s standout, shining in a double role: as Paulus’ devoted nephew Eleazar, he fumbles and tries to protect an uncle who’s already long gone. And in the role of Nero, he’s terrifying, seductive and utterly captivating. PAULUS is worth seeing.
John Olson, Talkin’ Broadway
Imagine this—among the holiday/Christmas themed shows this season is a play about Christianity! But this world premiere production of PAULUS, written in Hebrew by Motti Lerner and translated by Hillel Halkin, is no Christmas pageant. Rather, it's an intellectual consideration of the origins of Christianity as it was promulgated by the Apostle Paul in the years after Christ's crucifixion. Lerner, a self-described atheist Jew, depicts occasions late in the life of Paul (called in the play by his Latin name, Paulus) after Paul had spread the Christian gospel to Gentiles around the northeastern Mediterranean region. Most of these events concern Paul's confrontations with authority figures among the Jewish religious leaders and the Roman governors, and Lerner shows how politics, power and religion were closely intertwined. There are also frequent conversations with a 62-year-old Christ, in which the two debate the wisdom and morality of Paul's teachings. As scripture says that Christ first appeared to Paul in a vision, there's certain logic in Lerner's conceit that Christ may have continued to visit Paul after the crucifixion. Lerner shows Paul to be steadfast in his belief of a single, universal God—even as he debates Jesus, who preached his gospel mainly to the Jews. Lerner asks if the tribalism and sectarianism associated with some religious thinking is a barrier to achieving a better, more harmonious world. It's a thought-provoking theme set in a historical context that is likely new to many in the audience, as it was to me. It's all a very classy and thoughtful production that may offer its audiences a deeper understanding of religion in world history and spark some critical thinking about organized religion in today's society and politics. Audiences interested in including something like that in their holiday menu ought to pay it a visit.
Kerry Reid, Chicago Tribune
Call it "The Last Temptation of Paul." Lerner traces the last days of the title apostle, many years after that famous road-to-Damascus conversion, in a fantasia that combines loose historical context with intense religious debate, often provided by imaginary visitations to Paulus from Jesus and a ukulele-playing Roman emperor Nero. The philosophical context of Lerner's show is fascinating. There is no doubt that these characters believe deeply in the positions they have staked out. The play provides an interesting road map through Paulus' beliefs and his clashes with the Jewish and Roman authorities as they try to retain order among the restive populace (Jewish zealots and gentiles alike). Paulus' sin, as laid out by the Jewish high priest Hananiah (Bill McGough), is that he preaches to gentiles and suggests that they can achieve salvation without devotion to all the holy laws that Jews must follow. Hananiah sees this as a threat to Jewish identity. "If faith alone can save us, why must the Jews bother with their commandments?" It's Nero, who Glenn Stanton plays with oily charm and sardonic dyspepsia, who ends up making quite a bit of sense, especially when he croons, "It's no easy job to be God, when humans display such rigidity. Offer them beauty and wit; they'd rather have ugly stupidity." Thousands of years of sectarian violence suggest that he's not wrong.
Dani Snyder-Young, HowlRound
Paulus’s core message of inclusivity—that ethnic origins shouldn’t matter—resonates in a contemporary American context valuing multiculturalism. Of course salvation should not be exclusively reserved for just one ethnic group. Of course everyone should be able to participate in a (now-mainstream) monotheistic belief structure, regardless of ethnic origins. Of course Greeks, Egyptians, Romans, and Jews should be treated as equal.