A Review

Crisis of Faith

By R. J. Donovan

The Catholic Encyclopedia defines doubt as: “A state in which the mind is suspended between two contradictory propositions and unable to assent to either of them. Any number of alternative propositions on the same subject may be in doubt at the same time; but, strictly speaking, the doubt is attached separately to each one, as between the proposition and its contradictory, i.e. each proposition may or may not be true.”

That mouthful sums up the evening at “Doubt,” John Patrick Shanley’s powerful, Pulitzer Prize-winning drama now playing at The Colonial Theatre. Cherry Jones (left) stars in the role that won her a Tony Award as Best Actress in 2005.

Stars who originate roles on Broadway rarely tour with their shows any more. But Cherry Jones is no ordinary star. And “Doubt,” focusing on a possible case of improper conduct by a priest, is no ordinary show. Also from the original Broadway production, Doug Hughes directs.

Shanley's taut, 90-minute drama is set the 1960s, long before the doors were blown wide open on the secrets of sexual abuse in the Catholic Church. Beautifully written and carefully crafted, this is not a work that seeks to preach. Rather, the simple story builds as a mystery. And a struggle. And a duel.

Cherry Jones is Sister Aloysius, the rigid, principled, principal of a Catholic School in the Bronx. With her facial muscles taut, her stance stiff and her arms locked across her chest under her cape, she sets the rules for life, both in the classroom and beyond. 

But before we dismiss her rigidity to her being closeted in a cloistered life, we learn that she had once been married. Her husband was killed in the war. Adding additional shading to the character, Shanley has also given Sister Aloysius a dry and very observant sense of humor.

Always on the lookout for those who don’t tow the mark, she suspects Father Flynn, the parish priest, of inappropriate actions with the school’s young male students. Father Flynn is all about connecting with the students. And, he is everything Sister Aloysius is not.

While she rules like a prison warden, the charismatic priest offers a kind hand, a warm smile and a shoulder to lean on. He coaches basketball and he talks to the boys as a friend. But should that be cause for compliment or concern?

Having enlisted the help of young and naive Sister James, Sister Aloysius discovers a sole incident that appears to provide the crack in Father Flynn’s armor. A young altar boy, the only Black student among the otherwise Irish and Italian student body, had a private meeting with Father Flynn in the rectory. When he returned to Sister James’ classroom, he appeared despondent. And his breath smelled of alcohol.

Sister Aloysius' subsequent pursuit of the truth becomes nothing short of explosive. She doesn't want a discussion as much as a confession and will settle for nothing less.

Allowing no room for question, she assumes Father Flynn's guilt. And when he details what happened with a completely plausible explanation, she insists he is guilty all the same.

As a nun, Sister Aloysius is fairly powerless within the hierarchy of the Catholic Church. However, in the end, she proves to have had the most control, if only within her own immediate circumstances.

There is also an interesting do-as-I-say, not-as-I-do air to her character, as she has previously lectured young Sister James on valiantly maintaining skepticism.

Cherry Jones is superb as the formidable Sister Aloysius.  She's taken the brilliant character created on Shanley's page and brought her to life in a manner that's almost frightening. 

As Father Flynn, Chris McGarry (left) brings a boyish, one-of-the-guys quality to his complex role.  He is approachable, open and kind.  However, when pushed to the wall by Sister Aloysius, he flares with the power he knows his position holds.

Lisa Joyce is the novice teacher who helps ensnare Father Flynn in the first place. Initially unwilling to help, she is quick to grasp onto the priest’s implied innocence, mostly to relieve her own conscience.

Finally, as the mother of the young boy in question, Caroline Stefanie Clay has a powerful scene with Sister Aloysius.  Shining a different light on the reality of the boy's abusive home life, she's willing to settle for an unacceptable situation (and sacrifice her son) in order to push the boy through the system and get him into high school. To many, that may be an abomination. But in the reality of her world, it's a means of survival.

One of the achievements of Shanley's exacting script is that, as the story unfolds, you're fully behind Sister Aloysius one minute, only to swing your allegiance to Father Flynn a moment later.

By the final curtain, no clear cut answers have been provided.  Which leaves the audience to its own conclusions as to innocence or guilt.

As the opening night crowd filed up the aisles and out into the crisp evening air, the discussions were already afire over what had truly happened in the story. The crowd’s allegiance was divided, but eavesdropping on the tone of the conversations, I can tell you that every person spoke with solid conviction.

And no one had any doubt.

"Doubt" is at The Colonial Theatre, 106 Boylston Street, through February 18. For information, call 617-931-2787.

Production Photos: Craig Schwartz

-- OnStage Boston