Rather than deter crime, religion may stimulate it.

That is the controversial conclusion of a new criminological study published last month, which found that criminals—sometimes with rudimentary if not outright false understanding of religious tenets—often use faith as a justification for their crimes.

This finding was in the forefront of my mind while attending Dead Man Walking, Opera de Montreal’s uneven but sufficiently provoking production. Composed by Jake Heggie and directed by Alain Gauthier, the story presents a counter case to the aforementioned bit of social science. Based on the real-life experiences of Sister Helen Prejean, the opera follows the nun’s efforts to bring spiritual salvation to death row convict Joseph de Rocher.

Terrence McNally’s libretto coyly plays with the possibility that for Prejean, religious devotion serves to mask personal attraction as the main reason why the Sister seeks to help de Rocher. Despite sharing a Catholic worldview, Prejean and the prison chaplain hold polar opposite opinions on the death penalty. The lighting (designed by Éric W. Champoux) in the final scene ultimately leaves de Rocher’s salvation an open question. In all of these moments, Dead Man Walking exhibits keen and interesting insight, diving below a storyline that is rather uninspired and tedious on its surface. Unfortunately, other intriguing thematic territory, such as the gendered division of labour within the Catholic church, or the arbitrariness of state power, are tantalizingly suggested only to remain unexplored.

Nevertheless, there is much to commend within this production. A work of contemporary opera, Dead Man Walking is decidedly more accessible than most selections from traditional repertoires, a fact reflected in the younger-than-usual audience. The production marks the first time I have heard “f**k” in an opera, or seen classically-trained soloists pull from Elvis Presley’s oeuvre. Frequent, fluid scene changes and humourous American vernacular makes Dead Man Walking at times more musical theatre than opera. Stripped of aristocratic ballgowns and bourgeois language, the production also allows the acting prowess of the all-Canadian cast to truly shine through.

Allyson McHardy is evocative and precise in the role of Sister Prejean. As her character states, “[Jesus] was a hothead, and so am I. A perfect match.” McHardy successfully channels this determinism, while maintaining archetypical ‘nun-like’ compassion. The deep-throated mezzo-soprano seems to border on the quiet side on occasion, though this is made up for by McHardy’s nuanced phrasing.

As Joseph de Rocher, Étienne Dupuis is impressive not just in his vocals, but his theatrical physicality as well. Dupuis’ interpretation is most successful at resisting the libretto’s tendency towards saccharine sentimentality. This discipline, coupled with his broad range of talent, makes Dupuis a performer in the full sense of the word.

Champoux capitalizes on the opportunity provided by a contemporary story with a dynamic lighting design—a refreshing spring breeze compared to the staid stuffiness seen in other operatic productions. Harry Frehner and Scott Reid’s set is multidimensional and effortlessly versatile, turning the prison setting into a Kafkaesque panopticon for the audience’s voyeurism and delight.

Heggie’s score is characterized by a few bars of brilliance (including what I have taken to calling the Jesus motif) followed by swaths of forgettable musical wasteland. Despite containing trace splashes of early American jazz, the music is largely textureless and shapeless. It also has an annoying tendency to clash with the libretto’s vernacular cadence.

Despite this, Dead Man Walking still has merit as a theatrical experience. Considering Opera de Montreal’s previous production was tailored to emphasis accessibility—even going as far as to throw in a Gangnam style dance—it seems clear that the company is focusing on bringing in younger, more diverse audiences. Only time will tell whether the strategy is to succeed, but for those considering expanding their artistic pleasures, Dead Man Down is not the worst place to start.

Opera de Montreal’s production of Dead Man Down is running until March 16 at Salle Wilfrid-Pelletier, Place des Arts. Student tickets $30 each when purchasing two or more.