Instead of upbeat, ironic humor that normally characterizes the dramatic choices of many theatergoers, “Doubt: A Parable” — a play written by John Patrick Shanley and performed by Strollers Theatre — explores moral ambiguity in the arena of religious institutions in an incredibly bold way that has the potential to leave audience members completely absorbed in their thoughts.
With only four actors in the performance, director Miranda McClenaghan ably created a veritable metaphorical forum for a very broad range of issues in this compelling and smart philosophical play that strongly challenges the viewer to think. With the setting of a Catholic school in the early ’60s, the play begins with an earnest, well-delivered sermon by protagonist Father Flynn, played by R. Peter Hunt, whose character’s intense religious fervor becomes increasingly more chilling as allegations regarding a supposed inappropriate relationship with a male pupil arise.
Flynn’s foil, Sister Aloysius, played by Judy Kimball, delivers an astoundingly powerful performance as she instigates a campaign to have him removed from the school due to her suspicions concerning his supposed pedophiliac activity. The audience is first introduced to her character while she is lecturing the junior nun in the order, Sister James, played by a youthful and energetic Stacie Hanson.
The dynamic between Kimball’s excessively rigid character and Hanson’s doe-eyed, impassioned one is believable and amusing at times. While Sister Aloysius is primarily concerned with order, discipline and cleanliness, Sister James is driven by a heartfelt desire to see her students succeed in learning as much as possible. It is Sister Aloysius’ skepticism and unrelenting fixation on regulation that makes her unsympathetic to the audience. Sister James’ saccharine naivete is almost equally as grating, yet convincingly and intelligently performed as she voraciously buys into all of Aloysius’ hard-lined nonsense.
As the play progresses, the audience is introduced to a discussion of gender roles and expectations as Father Flynn callously assumes his tea will be poured for him while he attends a meeting with the two nuns. The issue of race is also called to attention when the audience learns the boy potentially being abused by Father Flynn is the first black student to attend the school. Yet, the play pushes boundaries further when Sister Aloysius meets with the boy’s mother, Mrs. Muller, played by Merrin Guice, to discuss the potential physical abuse. The mother deigns the allegations unimportant as she just wants to the boy to graduate and coldly reveals his latent homosexuality, which complicates the entire storyline and makes the audience wonder what type of intolerant, cruel world this horrendously treated schoolboy is growing up in.
While the play examines all of these issues characterized by passionate, flawless acting, it becomes obvious the result of the seamless production was a combination of both acting talent and very bright directing choices. For example, in spite of Father Flynn’s adamant denial of guilt, the play ends without the audience knowing his status. As he leaves the school because of Sister Aloysius’ pressure, the audience is finally taught a lesson on politics and power but will never know the true culpability of the priest. This dramatic ambiguity was a provocative director’s choice that really underscored the creativity and thought put into the performance.
Strollers Theatre, Ltd. has teamed up with the Bartell and director McClenaghan to put on a play that really showcases incredible local talent as well as a work distinguished by remarkable moral uncertainty. While “Doubt: A Parable” isn’t a play for the average, slapstick-seeking theatergoer, it is a play that’ll challenge you to expand your thoughts of what is doubtful and what is true.
“Doubt: A Parable” runs Sept. 4 through Sept. 27, and tickets cost $15.
