Review: DEAD MAN WALKING Shines Light into the Darkness in Georgetown, TX

The Sarofim School of Fine Arts Department of Theatre presents DEAD MAN WALKING at the creative theatre in the round stage known as Jesse H. and Mary Gibbs Jones Theater. Located in the heart of Georgetown, Texas and more specifically, Southwestern University, director Kathleen Juhl gathers students to tell a tale of a very unlikable young man watching the clock of his life run out. Set in 1970's Louisiana, the audience is transported through the stories of intolerance rather than scenery. Opening with a bare stage, some chairs, and a simple platform, the play begins with Sister Helen Prejean (played my Ally Oliphint) curious and nonjudgemental about her questionable surroundings in "the projects". Soon, she is asked by a local priest to visit a man on death row, and with some hesitation, she goes against the advice of her peers and ventures to the prison. With the bars and jail represented through creative cross lighting and distance, Matthew Poncelet (played by Dillon Betros) awaits, like a lion waiting for prey. The young man facing the last week of his life comes alive in his berating and tempting of Sister Prejean to abandon him through his brutish and ignorant dialogue. This stands in contrast with Sister Prejean's attempts to humanize a convicted murderer and rapist, as she is on a mission of religious guidance and tolerance, and not wanting to pass judgement.

The fact that Helen Prejean is a nun introduces layers of religious commentary rather than guidance. Her character represents the internal struggle many can identify with regarding the calling to "Love thy neighbor", and her experiences with the young convict begs the question, "no matter what?" Actress Ally Oliphint, was the highlight and stand out performance through this grim story. One heartfelt highlight was when she sang a hymn to Poncelot minutes before his execution. Sniffles could be heard from her sweet rendition of a song encouraging bravery. Her light, genuine curiosity, and "conviction", invites the audience to relate to her excellently communicated internal struggle, coinciding with the idea of standing up for what's right. This idea of "right", is questioned heavily throughout the story of Matthew Poncelot. Denying his involvement in the murdering of the innocent, the audience is granted an existential look at the young man's upbringing, explaining and sharing responsibility for his dubious actions. Dillon Betros, the actor portraying the unlawful Poncelot, comes off as harsh and one-noted. His vocal performance wasn't a question of breath and accent, but rather a question of discerning what the playwright (Tim Robbins) had adapted from the original book. Once his dialect and sporadic movements were accepted by the audience, his death was less fathomable and therefore brought the audience back to the true story at hand - a story of demonizing mistakes and who is the ultimate judge of these transgressions.

Lighting designer John Ore constructed expressive scenes through his creative lighting. A huge theme in the story was the representation of light and love versus darkness and hatred. The first time we see Sister Prejean and Poncelot together, they are as far away as the stage would allow, shadowing each in 'bar-like' lighting, crossing their faces and skewing their appearances to each other and the audience. As the drama continues with each meeting, the couple gathers closer, breaking down the wall of hatred while simultaneously inviting love into their curious circumstances. Ultimately, they are united on the small platform that would solidify their bond. Other technical work in this show should be duly noted. Costumes designed by Kerry Bechtel had a tough denim-like uniform for the ensemble malleable ensemble members. Changing characters with as little as a prop or sweater, the rough-looking uniforms brought solidarity to the group of actors often decorating the stage.

Replete with facts and statistics regarding the lives lost by death-row inmates, this show wasn't a mere evening. It was something onlookers should take in more as a well-rounded experience, much like a museum with visual displays. Both sides of capital punishment are presented and many more questions are raised. In this rendition of Dead Man Walking, audiences can expect to leave debating the difference between "punishing killing with killing" and protecting society by ending evil. The question of right and wrong is humanized and looked at under a microscope. Southwestern University has a group of young performers tackling hard-hitting subjects in an unapologetic way. Touching on both the religious and cultural significance of capital punishment, the story brings light to dark crimes and the often deadly culture we live in.

DEAD MAN WALKING

Director: Kathleen Johl

Scenic Design: Desoderio Roybal

Lighting Design: John Ore

Sound Design: Aaren Horak

Costume Design: Kerry Bechtel

SAROFIM SCHOOL OF FINE ARTS - DEPARTMENT OF THEATRE

Photo Credit: Sergio Costola

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