having examined some of the, certainly, serious allegations we have not been able to find grounds that would convince us that they were part of the reality.26
Here we see how the two types of witness statements alternate competitively. Ryan functions as an intermediary in this competition, to highlight significant points, leaving little room for an audience to sympathize or identify with Sister O’Donoghue, as Raftery’s editing strategy works to validate the survivor testimony and to set up an emotional connection between the survivor witnesses and the audience.
It need not be the case, however, that emotion positively attaches to direct statements over interview testimony; it is easy to imagine a reverse of this scenario, where the stark direct-address statements would have a less sympathetic effect in contrast with a fuller and more complex representation of the witness via interview. The inclusion of onstage interaction might have given the interviewed witnesses a more humane quality or given more opportunity for the demonstration of emotion. The intercutting of the survivor testimony with an evasive religious spokesperson, however, creates affective impact and, combined with Sister O’Donoghue’s lack of remorse, gives that affective capital to the survivor-witness. In a way, then, the purpose of Judge Ryan’s onstage role is in educating and guiding the audience to understand that compassion is the correct witnessing response.27
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