Shakespeare Behind Bars (3.5 stars)

I feel a bit ashamed for never having heard of the prison Shakespeare program detailed in this small, thoughtful documentary; after all, the prison where it takes place was a 2-hour drive from my birthplace, and as a theater obsessive I probably should have been aware of such an affecting, unusual use of theater happening in my own backyard. My own shame aside, however, this is a documentary worth viewing. As with many documentaries of its size and scope, this is more due to the subject matter than the filmmaking, but both are parts of a worthwhile whole.

The Luther Luckett correctional complex in La Grange, KY apparently allows its inmates to perform a selected Shakespeare play every year, once for inmates and once for friends and family. The documentary follows a season in which "The Tempest", with its appropriate themes of forgiveness and redemption, has been chosen. It is unusual to watch this production unfold, since we see almost none of the trappings of a traditional backstage documentary about theater. There are no costume fittings, prop selections, or demands for pay raises. Instead, the company confronts entirely different and unique problems, such as what happens when a role must be recast because an actor is sent to "the hole" for obtaining illicit tattoos. The men filmed are open with their feelings in that mediated, slightly psycho-babbling way indicative of learning how to talk about themselves by listening to therapists. Let's just say they are all eager to tell us about their issues with their parents. Many of them choke up when describing their crimes; surprising no one, these are the men who have parole chances arising in the near future. The 2-term lifer we see is a bit more matter-of-fact when describing his crime. The revelations come in the scenes where these hardened men, practicing in a prison cafeteria, create geniune moments of thrilling emotion from the words of Shakespeare. Even the man pressed against his will into playing 15-year-old Miranda eventually begins altering his walk and carriage, and enjoys contemplating the body language changes he will employ to portray an adolescent girl. The inmates seem incredibly grateful for the imaginary journey this program allows them to take, and we learn at the end that it may be the only journey of any kind that they will undertake for some time.

I admit that as well as being biased toward this film as a former theater geek, I was also quite interested to see the countryside around La Grange. I was probably favorable toward the film as well because it reminded me of dating and hanging out in that area, where it was popular to stroll around the prison boundary on dates. (It was probably the most isolated place imaginable, which appeals to high-school couples.) It appears that the area has not changed much since I was there last, much like the words of Shakespeare that are probably still being practiced inside.