THE CAPTIVES In Brief:Professor, is a closeted artist/academic at an Ohio university. She’s a competent teacher, but her real passion is painting images of death-row meals on china plates. As someone who struggles with gender choice, she’s fascinated by this final decision in a life otherwise devoid of options. Professor creates each plate after each execution — without meeting the prisoner. Pressured by her tenure committee, she now has her first face-to-face with the next inmate to die — Texas prisoner Trevor Monroe. But Trevor wants a stay of execution — not a final meal —setting in motion a series of life-altering events for the artist, the prison warden, and the man about to die.
THE CAPTIVES weaves together messages about capital punishment, gender identity, and the consequences of personal choice. Inspired by both the painted death-row plates of artist Julie Green and the botched 2014 Oklahoma execution of inmate Clayton D. Lockett, THE CAPTIVES explores the poignant costs of capital punishment. It addresses racial discrimination in sentencing and humanizes both the condemned and the executioner. In a separate but linked plot point about gender identity, THE CAPTIVES examines the struggle for self-acceptance, a process which is neither as glamorous nor as seamless as the media’s Caitlin Jenner narrative would lead us to believe. (Any resemblance to real persons, living or dead, is purely coincidental.)
THE CAPTIVES Development History: