California-based British-American actor Maxwell Caulfield performs in Michael Punter’s one-man play, Pilate: The Lost Gospel this summer at the Edinburgh Fringe. We caught up over a WhatsApp audio call to chat about why this play is a challenge, an opportunity, and a family affair.
“For a man at the heart of one of history’s most important events we know very little about Pontius Pilate. Was he a heartless monster or a humanist baffled by the historical forces swirling around him? Born into violence, surviving Rome’s worst defeat in Germany then taking that experience to Judea and an encounter with a mysterious carpenter from Galilee.”
Where: Above at Pleasance Courtyard
When: 5-30 Aug (not 19)
Ticket link: https://www.edfringe.com/tickets/whats-on/pilate-the-lost-gospel
Tell us about the play. What can audiences expect?
One of the fascinating things about Pontius Pilate is that, despite being one of the most recognisable figures in history, there’s actually a great deal we don’t know about him. Beyond the established facts, much of his life remains ambiguous. The playwright, Michael Punter, has taken those gaps and used a degree of artistic licence to build a compelling portrait of the man.
The play explores not only Pilate’s time in Judea and his encounter with Jesus, but also the wider story of his life. Ultimately, it’s an examination of a man whose decision has echoed through history. We gain an insight into the individual behind the title and the burden of a choice that has haunted him ever since.
Interestingly, Jesus doesn’t even appear until around halfway through the play. That gives you a sense of the balance of the piece. This isn’t simply a retelling of familiar events; it’s very much Pilate’s story.
You’ve performed the piece before, but Edinburgh is a different challenge. How has the show evolved?
I’ve done the play a handful of times, but never in a sustained run. Every performance has helped deepen my understanding of the material. The structure hasn’t changed much, but my command of it certainly has.
With a solo show, memorising the text is only the beginning. Audiences aren’t impressed simply because you can remember 75 minutes of dialogue. What matters is the delivery, the passion and the ability to transport people. A one-person show can easily become monotonous if there isn’t enough variety and energy in the storytelling.
There’s probably a part of all of us that approaches a solo performance thinking, “Right, so it’s just him for the next hour.” You have to capture the audience’s imagination very quickly and keep them engaged.
Do you play multiple characters?
No, not really. I’m essentially playing Pilate throughout. Other figures appear in the narrative, most importantly Pilate’s wife, Claudia Procula, as well as various Roman emperors and military figures, but I don’t perform them as separate characters.
In rehearsals, I briefly experimented with different accents and voices, but a director wisely pointed out that it suddenly became an actor doing impressions rather than a man telling a story. Once I let that go, the piece became much stronger.
This sounds like a major undertaking. Has it become a passion project?
Absolutely. It began as a challenge, something akin to a mountain to climb. There were moments when I genuinely thought, “I’m never going to learn all of this.” But because it was self-motivated, there was nobody pushing me except myself.
You put it aside for a few days, then it starts calling you back. Before long, you’re reciting lines in your sleep. I’d wake up in the middle of the night and find myself mentally working through sections of the script.
What started as a challenge has become a genuine passion project. It’s about putting yourself to work and proving to yourself that you still have the discipline to do something difficult.
Has religion been part of your motivation?
Not really. I was baptised Catholic and raised in the Church of England, but I wouldn’t describe myself as a particularly religious man.
What interests me is the human story. The play undoubtedly has religious themes, but at its heart it’s about power, responsibility, conscience and the clash of competing authorities. Those ideas remain relevant regardless of an audience’s personal faith.
Of course, given what continues to happen in the Middle East, the play also carries contemporary resonances. It reminds us that these events unfolded in a real place, among real people, and their consequences still echo today.
How important has your wife, actress Juliet Mills, been in bringing the project to Edinburgh?
Completely essential. She’s co-producing the show and has been the driving force behind the entire endeavour.
The reality is that taking a production to Edinburgh is a major investment of time, energy and money. The technical and administrative demands alone are enormous. Juliet has been tireless. She’s helped me learn the material, listened to endless rehearsals and supported the project every step of the way.
What’s remarkable is that she’s never tried to direct me. She’s simply been consistently encouraging and enthusiastic. Frankly, I doubt I’d be taking the show to Edinburgh without her and our New York producer pal Mark Rozzano.
What attracted you to the role in the first place?
First and foremost, I love Michael Punter’s writing. When he offered me the script, I immediately recognised the quality of the work.
Initially, though, I wasn’t sure about the commercial appeal. Pontius Pilate isn’t the most obvious subject for a theatre production. But the more I thought about it, the more I realised that this is one of the most significant stories in human history.
Opportunities like this don’t come along very often. A great one-person show can be as powerful and impactful as anything in theatre. When you see someone truly master that form, it’s extraordinary.
Why Edinburgh?
I’ve always loved Edinburgh. I’ve performed there many times over the years and have wonderful memories of the city and its audiences. Our daughter Melissa performed there in Corpus Christi by Terrence McNally in 2008. The Pleasance Courtyard is a good venue for Pilate, fitting for the topic, and I’m on at 10.45 in the morning every day, so not sandwiched between other productions.
The further north I’ve travelled with productions, the more enthusiastic audiences seem to become. Scottish audiences in particular have always embraced me warmly, perhaps helped by the fact that I have Scottish ancestry myself.
There’s also something inspiring about the Festival itself. The scale is extraordinary. Thousands of productions competing for attention, yet audiences remain passionately committed to discovering new work. It’s unlike anything else in the theatre world.
What are your hopes for the show beyond Edinburgh?
I’d love the production to have a life after the Festival. There’s already interest from venues including Theatre Royals Windsor and Bath.
I don’t imagine it becoming an eight-shows-a-week commercial run. It feels better suited to touring and special engagements. But I do believe there’s every chance I’ll still be performing it well beyond Edinburgh.
The encouraging thing is that audiences have responded strongly. On one occasion, I even received a standing ovation, which genuinely surprised me. It was a very humbling experience.
Ultimately, if audiences leave feeling engaged, moved and provoked into thinking about the story in a new way, then the show has done its job. Everything beyond that is a bonus.