Howard Barker's Scenes from an Execution is haunting and provocative, and it does not shy away from its simple message-that artists' roles during times of great political censorship can prove to be society's most valuable filter of popular dissent and that above all else, an artist must remain true to himself.This theme proved particularly resonant this past weekend, when the theater department's production of Barker's play opened at the Laurie Theater. While Director Adrianne Krstansky's (THA) production notes forewarned the audience that "it will help to know that there is no message to be found," it seemed to further stress the notion that artistic interpretations are limitless-whether in the mostly graduate student cast's scripted reaction to the paintings found in Scenes, or in the audience's response to the play itself.

The play follows Galactia, played by Abbie Killeen, an artist whose work confronts the horrors of war. Her peers, including her lover Carpeta (Trey Burvant, Equity), choose to glorify their home city of Venice, however, a city where artists are commissioned by politicians and bureaucrats like Urgentino, played by Diomedes Koufteros, and Admiral Suffici, played by Kevin Landis, to create exclusively patriotic works. Throughout the play, Galactia wrestles with conflicting emotions-should she do what her heart tells her, or obey those holding positions of power?

Killeen's performance as the sensual Galactia was absolutely essential to the work. As her character refused to conform to her surroundings' norms, Killeen drew viewers into the story's turmoil with her stunningly unbridled emotions. But Koufteros' Urgentino, or the Doge of Venice, proved to be Scenes' most nuanced character: As both a patron of the arts and an important political figure, he was alternatively manipulative and caring, ultimately allowing the audience to empathize with his difficulty making decisions regarding Galactia's fate.

Burvant's performance as Carpeta was also well-crafted. His chemistry with Killeen was passionate and realistic; at times, their love felt more tangible than the props used in the show.

Rivera, an art critic played by Professor Janet Morrison (THA), voiced both the writer's intentionally ambiguous message and the audience's response, and she brought both humor and wisdom to the play.

The haunting music, written by David Wilson (THA) also added to the audience's experience. It was both beautiful and unsettling, focusing the audience's attention and infusing the action on stage with suspense.

Although centering on a gigantic, controversial painting Galactia eventually creates, this adaptation chose to depict the work as an empty frame. This decision allowed each audience member to imagine the piece of art as they wished; Galactia's interpretation of truth-as well as the play's overall message-was entirely dependent on every viewer.

A sensual, emotional and passionate work, Scenes of an Execution juxtaposed the threat of death with the mutilation of one's morals and beliefs. The acting and overall production allowed the audience to identify with the character of their choice, derive their own meaning from the piece and apply the ethical questions posed to their own lives.