There is an old parable about a young sailor who is left alone at sea because his ship suddenly sinks and his crew dies. He constructs a makeshift raft and follows the stars for navigation. But when a storm rolls in and the stars are no longer visible for 20 days, the sailor begins to doubt his route — and what he thought was his own truth.
That story is relayed as part of one of Father Flynn’s sermons in the outstanding production of John Patrick Shanley’s “Doubt: A Parable” on stage at the Beck Center for the Arts in Lakewood.
Father Flynn, a priest at St. Nicholas School and Church in the Bronx, New York, during the 1960s, tells his congregation he knows there are many among them who may have similar doubts of faith. But, he says, “Doubt can be a bond as powerful and sustaining as certainty. When you are lost, you are not alone.”
Right away, we get a sense that Father Flynn prefers a less traditional way of connecting with his congregants and students, embracing methods that are more open and positive than what might be considered the norm during this time.
The opposite could be said for the school principal, Sister Aloysius, who is a staunch believer in traditional methods of teaching, which is especially evident when she scolds the younger Sister James for not being a harsher disciplinarian. She urges Sister James to be more suspicious and asks why she doesn’t send more students to the principal’s office instead of working through problems on her own. She also asks her how she feels about Father Flynn and his methods, as well as whether she’s “noticed anything.”
When Sister James eventually reports to Sister Aloysius that she has some concerns that Father Flynn may have been inappropriate with Donald Muller, the only Black child in school, Sister Aloysius seems almost vindicated. Upon pressing Sister James for more details, she learns that 12-year-old Donald came back to class sluggish and smelling like alcohol after being alone with Father Flynn.
The proper protocol would be for Sister Aloysius to bring this to the attention of Monsignor Benedict, but she suspects he would brush it aside. Thus, she decides to confront Father Flynn herself, along with Sister James.
This is where we begin to wonder. How do we straddle that fine line between the commitment to finding out the truth and the simple penchant for gossip? And even worse, what if, regardless of whether we discover the truth, we are left with a feeling of ambiguity that shakes us to our core?
This is where our play ends — with the tough-as-nails, hardened Sister Aloysius wrestling with her doubts, which run even deeper than whether Father Flynn was inappropriate with the boy or whether she was wrong to go after him in the first place. Her struggle lies in the cracks of the foundation of her faith — the moral compass by which she travels.
This stirring play opened off-Broadway in 2004, moving to Broadway in 2005 and garnering 11 awards, including a Pulitzer Prize and the Tony Award for best play. A movie version starring Philip Seymour Hoffman, Amy Adams and Meryl Streep arrived in 2013.
This production, under the superb direction of Donald Carrier, is something that should not be missed, partly because of the complex story that practically forces our feelings to the surface. On top of that is the stellar cast. fulfilling every intention the playwright had for each of these layered characters.
Derdriu Ring is nothing short of brilliant as she dons the habit and the habits of Sister Aloysius. Ring’s Aloysius is often so cold and collected that even the most subtle change of expression speaks volumes. The actress’ delivery is so pointed that it often elicits gasps from the audience, yet the character has a dry wit that allows us a laugh just when we need it most. Ring tackles this role as if it were written for her.
Christopher Bohan has the lofty job of steering the ship, so to speak. In less capable hands, a portrayal of Father Flynn could sway the audience one way or another as to whether he acted inappropriately. Bohan plays the role with such sincerity, optimism, humor, fire and desperation that we are left utterly confused about what to think. And that is the point.
Gabriella O’Fallon portrays Sister James with all of the necessary naivety and vulnerability needed to offset the role of Sister Aloysius. She relies on facial expressions and an edge to her voice to demonstrate her distress about various situations throughout the play. However, occasionally it feels as if she lacks some of the depth the other actors possess, which affects her ability to tap into some of Sister James’ more complicated underlying feelings.
Tamara French has a cameo role as Donald Muller’s mother, but she certainly makes the most of her brief time on stage. As a mother who wants to protect her child, French does an incredible job of playing calm with an undercurrent of fear — the character is simmering and ready to boil. French has to approach her lines with care, as she navigates the delicacy of a situation where her character’s feelings about what is best for her child might not line up with the audience’s feelings.
The production values are flawless, thanks largely to a quartet of designers: Jill Davis, scenic; Adam Ditzel, lighting; Jenniver Sparano, costume; and Angie Hayes, sound. As a result, we feel as if we are part of the St. Nicholas Church, making it even more of a moral dilemma for us to comprehend what is in front of us, as well as our own inner turmoil when it comes to faith.
This production of “Doubt: A Parable” is not only for us to contemplate situationally, but also for us to contemplate these themes universally. This show will stay with us for a long time because it forces us to confront truths within ourselves.
‘Doubt: A Parable’
Continues through June 25 at Beck Center for the Arts Studio Theater, 17801 Detroit Ave., Lakewood. For tickets, $12 to $38, call 216-521-254, ext. 10 or visit beckcenter.org.
Editor’s note: This article was updated at 8:24 a.m. June 8 to correct a character’s name.
