Two prison cells and a surrounding metal scaffolding seem to haunt the semi-darkened stage. Amid the crackle of radio static, a persistent murmur of media broadcasts reports the news. In contrast to the sinister steel cage, these communiques are jarring in their banality, an insensible hodgepodge of world events ginned up with establishment platitudes.

It is half an hour before the play opens, and the Stagecrafters production of “Jesus Hopped the ‘A’ Train” by Stephen Adly Guirgis already captures your attention. Under director Dave Ebersole, the show burns with raw energy, as two prisoners from the isolation wing at Rikers Island passionately tangle during the one hour of sunshine the prison system allots them.

Angel Cruz is in prison because he shot Reverend Kim in the buttocks (presumably a reference to the notorious Reverend Moon), after Kim inveigled Angel’s best friend, Joey, into joining his cult. When the preacher died following routine surgery, Angel was charged with attempted murder and now awaits trial. Fellow prisoner Lucius Jenkins is a serial killer with eight notches in his belt.

In their daily hour of fresh air liberation, the prisoners argue heatedly. Lucius has found God while in solitary. It gives him the strength to fight extradition to Florida, where he faces certain execution. Lucius is the aggressor as he challenges Angel on questions of belief and morality, while Angel stammers in near incoherence.

Jon Owens is arresting as the sociopath turned God-fearing convert. Playwright Guirgis endows the character with an intensely poetic street argot. Owens articulates this language joyously. His movement and manner are unpredictable, warmly charismatic most of the time, but turning into stony-eyed stillness in a blink.

In the role of Angel, Carlos Jiga is the perfect counterpoint. He lacks Lucius’ ease with language, and Jiga’s Angel lurches about his cell, trying to control emotions and find the right words. Usually, the best he can do is blurt out, “But you killed eight people!” until he finally erupts in telling indignation.

In addition to Ebersole’s casting, Ellen Moore’s set design and the ironic use of the news media, additional elements distinguish the Stagecrafters production. The lighting and sound designs of Sydney Sjolin and Ayanna Riley accent scenes at core moments with such a light touch you scarcely notice their presence.

The two Rikers prison guards represent opposed views on crime. D’Amico (Eric Jarrell) is a kindly man — his name means friend. He likes Lucius and slips him Oreo cookie treats. D’Amico is quickly ejected by the authorities in favor of Valdez (Brandon Tabb), whose moralizing brutality reflects the worldview of the Rikers management.

The two prisoners change the two guards more than they change themselves. D’Amico’s naive view of a world without evil is challenged late in the play when he learns a few more things about Lucius. Valdez softens when he sees Angel’s genuine suffering. Defense attorney Mary Jane (Monica Guest), is so affected by Angel she risks disbarment when she suborns the witness.

The gripping intensity of the confrontation between Lucius and Angel is a vivid example of what sets live theater apart from other venues. You cannot take your eyes off these two characters. But playwright Guirgis’ answers for his evident interest in questions about God, morality and redemption are murky at best.

Stagecrafters is located at 8130 Germantown Ave. “Jesus Hopped The ‘A’ Train” will run through Feb 22. Tickets available at 215-247-8881.