Cover Image: Freeze Frame Opera brings Dead Man Walking to life inside Fremantle Prison’s East Workshops. Photo: John Marshall @terrificpicturesaus.

Dead Man Walking
Freeze Frame Opera
Fremantle Prison

Freeze Frame Opera has come of age. 

I was fortunate to see this small-yet-packs-a-punch opera company in action last Saturday. At the East Workshops located at the back of Fremantle Prison, I attended their latest production: Dead Man Walking. Composed by Jake Heggie and libretto by Terrence McNally, the opera is based on the powerful memoir by Sister Helen Prejean, who documented her experience as spiritual advisor to a death row inmate, convicted murderer, Joseph De Rocher.

Freeze Frame Opera (FFO) started out from humble beginnings perhaps ten years ago, with a recital-style performance at PS Art Space on Packenham Street in Fremantle, showcasing established and emerging WA talent in an accessible format, appealing (and non-traditional) location, and a commitment to present “Opera without the boring bits.”

To witness just how far this company has come, under the dedicated, determined and visionary leadership of Founder, Hattie Marshall, was both a privilege and joy.

To see such a professional and polished production (sparsely yet perfectly designed by Rhiannon Walker with Jerry Reinhardts subtle lighting), stunningly cast (featuring what must be FFO’s largest contingent of world-class and emerging talent to date), brilliantly played (the score dramatically and movingly realised for a chamber ensemble featuring outstanding musicians by the genius that is Music Director Tommaso Pollio), superbly sung (more on this later), and so powerfully realised by the nuanced and deeply confronting yet moving direction of Adam Mitchell; gripped the audience from start to finish.

I had heard rumours that in order to keep to their commitment to remove the ‘boring bits’, an approach had been made to the licensor to make cuts to the almost 3-hour duration, however, this had been declined. FFO faced the challenge of keeping their brand alive, whilst staying true to the work.

Perhaps it was the fact that many in the audience would be very familiar with the story, due to the remarkable success of the 1995 Hollywood film also based on Sister Prejean’s memoir, starring Susan Sarandon and Sean Penn. The opera is also sung in English, thus removing one of Opera’s biggest barriers: language! The audience could clearly understand what was going on in detail throughout the performance. Perhaps it was the brilliant location – presenting an opera set on death row in a prison that, until 1984, was WA’s only lawful place of execution, the cold stone walls and floors foreshadowing the chilling climax, was a masterstroke. Maybe the additional details, such as a food truck serving piping hot Louisiana-inspired food (where the opera is set) and a full bar meant patrons were fed, watered and ready before the performance started.

Whilst all these things ensured FFO stayed true to its core values, it was the superb performances to whom the success of the production must be credited. Any production that starts with a scene where a young couple, half naked, are interrupted by two thugs carrying a rifle, disappear from view to the sound of blood curdling screams and gunshots, means you’re in for a big challenge to hold the audience to the story and plight of the perpetrator beyond the violence. Yet not only does it hold our attention, the extraordinary cast evoked verbal exclamations from audience members in the rows behind me, and at several points I could hear sobbing. The audience was riveted, connected to the characters in front of us in a way that only incredible theatre can, right to the closing moments where we witness De Rocher being put to death.

You know you’ve got something special happening when leading Australian soprano, Sara Macliver, stuns in a supporting role as Sister Helen Prejean’s colleague, Sister Rose. The four parents of the young couple were so convincing I could feel their pain and loss and refusal to show any compassion, and the wave of emotion that swept over me during their ensemble number will endure. Even small roles were perfectly played and sung with young artists selected from WAAPA and UWA music departments. The mother of the convict, Mrs Patrick de Rocher, played by Lisa Harper-Brown, was the epitome of a grieving mother who will continue to love her son, no matter what he may have done. 

However, last word must be saved for Sister Helen and “Joe” de Rocher, sung by Marshall herself, and young baritone, Lachlan Higgins. In this role, with its soaring notes at the top of the register, with deep emotional self-reflection and a sense of angst and urgency, Hattie absolutely excelled. I do not think I have seen a more perfect role for her, and with her hair cut shorter (I presume for the role) she was absolutely convincing. Sarandon won an Oscar for her portrayal of Sister Prejean in the film version, and Marshall’s performance was award-worthy in my view.

Likewise, Lachlan Higgins could not have been more perfect for the role. His lean frame, fake tattoos, short hair, wife-beater vest and jeans, ensured he looked like a 20-something who really ‘could have done it’. His portrayal of the false bravado shown by a man on death row who cannot and will not confess, also let through the fear and panic of a desperate young man too terrified of his fate to know what to think. He was captivating. His beautifully expressive singing that balanced the arrogance and fear of a lost young man navigating his fallibility, was remarkable from someone so young, and dare I say it, someone who looked like him! Higgins is not your typical opera singer and that’s what made him so perfect: that such a voice and performance could come from someone that looks like the boy next door.

The plot of this Opera is challenging, but its relevance to the world we live in, with all of us wrestling with themes of forgiveness, tolerance of differences, revenge, compassion and the essence of humanity, means Freeze Frame Opera was right to present this at this point in its evolution. Marshall has surrounded herself by a hugely capable team and seeing them come together to make such a profoundly moving and evocative production demonstrates just how far FFO have come.

Frankly, it was a triumph.

Dead Man Walking ran from September 18 to September 21.
For more information about the Freeze Frame Opera program, visit:
https://www.freezeframeopera.com