Review: DOUBT at Fulton Theatre

John Patrick Shanley's Tony and Pulitzer Prize-winning drama Doubt recently hit the Fulton stage. This powerful show explores the constant battle of intuition versus evidence. What happens when we suspect something is wrong, yet we have no proof? Just like real life, the play offers no definitive answers.

Monica Horan stars as Sister Aloysius, the no-nonsense principal of a Catholic elementary school in the early 1960s. Horan's give a very nuanced performance. She has put significant thought into the character's voice, mannerisms, movements, and facial expressions. I have seen this show several other times, and only recall the character's intensity and gruffness. Horan selects a few key moments that convey the nun's extremely dry sense of humor and a few rare (and brief) smiles. Horan makes me believe that Aloysius is capable of warmth and joy, yet largely chooses against it.

Abigail Isom is wonderful as Sister James, the inexperienced, naïve yet optimistic, teacher. Isom's plays an excellent foil to Horan's Aloysius, especially with regard to facial expressions. When the two share the stage, it is as if we are watching a pair of comedy and tragedy masks brought to life.

Matthew William Hydzik is Father Flynn, the parish priest who is suspected of possible inappropriate actions with an altar boy. Hydzik is very personable, especially in his homily monologues. He is also a handsome man, so his characterization and choices were a bit different than some others who have played the role. Phillip Seymour Hoffman, who played the role in the film, has a bit of an inherent "creep factor" built in, so his audience is a bit more unsettled from the onset. Hydzik's appealing looks and personality may lull us into a false sense of security.

Ché Lyons plays the boy's mother, Mrs. Muller. Her extended scene with Sister Aloysius is disturbing and a real eye-opener. We expect the scene to go one way, and instead, witness something very, very different. Lyons handles the role with depth and sincerity.

There are many layers of this play beyond the obvious "did he or didn't he?" narrative. I am fascinated with the themes of power and privilege that the story deals with. We are familiarized with an entire pecking order of 1960s America based on gender, race, and age. Doubt does an amazing job of encouraging you to look at issues through a different lens from a different time.

In conclusion, this is a powerful play with an excellent cast. The themes tackled are just as relevant today as they were 60+ years ago. It is a lean, mean show without intermission. The original cast joked that Act II occurs on the drive home as audience members process, discuss, and debate what they just saw. I couldn't agree more.

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