As Louisiana’s sentencing laws have grown ever stricter, Angola has become less of a way station and more of a terminal; 16 years ago, the average sentence length here was half of what it is now. To combat hopelessness, a problem both moral and practical, Mr. Cain has advocated a sentencing overhaul and has added programs at the prison like a TV station, a Baptist seminary and a hospice with inmate helpers.

He has also developed a reputation for dealing strictly with anyone who questions his rules — actors who violated regulations recently were “locked up” and missed the show — and a belief in moral redemption that often has a distinctly Christian cast. A few inmates have sued, alleging religious discrimination.

“This is another example of the pervasive Christian environment at Angola, funded and supported by outsiders,” Marjorie R. Esman, director of the American Civil Liberties Union of Louisiana, wrote in an e-mail. “The A.C.L.U. hopes that religious plays will not be the only ones that inmates perform for the public.” But in the context of a place like Angola, these are complicated matters.

Wilbert Rideau, an award-winning journalist who spent 40 years at Angola, often tangled with Mr. Cain, even calling him a dictator and a bully in his book, “In the Place of Justice.” But having seen how few opportunities prisoners are allowed to have elsewhere, Mr. Rideau said he had grown less concerned about Mr. Cain’s motives.

“I don’t care why he does it, as long as they benefit from it,” he said. “How many other opportunities are there for these guys to get to demonstrate their artistic ability? Why would anybody have a problem with that?”

The production was not Mr. Cain’s idea. Cathy Fontenot, an assistant warden, was in Scotland several years ago and heard about a passion play, written by an Englishman named Peter Huntley, that was performed on the lush grounds of Dundas Castle. The grounds reminded her of Angola. She reached out to the owner of the castle, Sir Jack Stewart-Clark, and he supported bringing the play over (he also attended the performances).

Prison officials emphasize that involvement is voluntary and that the production was funded with donations from individuals and charitable groups. Ms. Fontenot also says that “The Life of Jesus Christ” is not pushing a particular religious message but a general one of moral redemption, though that sentiment is not echoed by some actors and donors, who speak of saving lost souls.