Review: DOUBT: A PARABLE Is a Heart-Breaking, Challenging Tale at Garden Theatre

Theatre production company Beth Marshall Presents' latest play at the Garden Theatre is an exceptionally challenging one; for artists and audiences alike. One would be safe to assume that with a title like DOUBT: A PARABLE the play will focus on the varying ways in which one can experience the emotion; and while that is true, on closer examination, the far more important aspect of the play's title comes after the colon; "A PARABLE." Beth Marshall's production of this 2004 Tony and Pulitzer Prize winning play is anchored by a four-person cast which gives uniformly stirring performances, but one in particular might ultimately undermine the larger lesson which playwright John Patrick Stanley was looking to teach.

The story is an unsettling one that draws upon some of our society's most basic fears, and cause audience members to audibly gasp and recoil numerous times on the night I attended. Set in 1964, Father Flynn (Michael Wanzie) is a well-liked priest at St. Nicholas Catholic Church and School in the Bronx. Armed with nothing more than a hunch, the school's disciplinarian principal, Sister Aloysius (Ginger Lee McDermott) navigates the Church's internal politics in an effort to discover whether or not Father Flynn has molested an especially defenseless 8th Grade boy. Sister Aloysius employs the young, naïve Sister James (Chelsey Panisch), the boy's teacher, in the investigation. Throughout the riveting hour and a half production, all three of these characters experience their own moments of "doubt;" whether that is a questioning of faith, uncertainty in the veracity of their claims, or insecurity in their own life choices.

Wanzie makes for an exceptionally warm and genial Flynn. He is the model of the type of priest you would want involved in a child's religious and educational up-bringing, which only serves to heighten the confusion and anger surrounding Sister Aloysius' allegations. Wanzie took so naturally to the nuances of the role that having gone to Catholic school for 11+ years, I had to consciously restrain myself from responding to his calls to pray. Wanzie's performance is filled with kindness and understanding, which makes it especially heart-breaking, no matter Father Flynn's guilt or innocence. If he did not commit the crime of which Sister Aloysius accuses him, your heart breaks for the pain that this man has been needlessly forced to endure. However, if he is guilty, your heart breaks for all of the lives that the charismatic priest could have changed for the better, had he not chosen instead to prey on them.

Unlike her superior, Sister James is the type of nun that is more associated with the Church today. Caring, generous, and nurturing, Panisch brings a warmth that is necessary for the role. The indecisiveness that Sister James experiences should be a mirror to what the audience is going through as we question every "fact" and supposition. Panisch's sincere conflict shows the audience that not only is it ok to be unsure of the truth, but in this case, it is probably best to question everything. Panisch provides a touch of humanity that is much appreciated, as the two elder clergy members seem to lose theirs more and more at every turn.

The most stirring of the show's performances comes from McDermott. Her Sister Aloysius is very much like the strong, ruler-wielding nuns of which my father tells stories. Her years of experience have emboldened her with a surly confidence that more than borders on arrogance. She makes it very clear that her way of doing anything and everything is not only the right way, but also the only way. McDermott embodies Sister Aloysius with such conviction that it makes it difficult not to believe her. However, that is probably not what Stanley wanted.

As evidenced by the title, the goal of the play is to have the audience unsure as to who is right and who is wrong. However, the power with which McDermott infuses Sister Aloysius' certainty is so unwavering and overwhelming that it nearly robs the show of the ambiguity that it needs to effectively teach its lesson. Wanzie creates a Father Flynn whose gentleness makes you want to believe him, but as strong as that desire is, McDermott is so convincing, you feel that there is no alternative to her side of the story.

Ultimately though, this problem is not McDermott's. Sister Aloysius must have that conviction. I think that to balance her out, the story would have benefited from a stronger performance from Wanzie. Though he has his moments of anger and defiance, it never rises to the convincing certainty of McDermott's; thus depriving the parable of its message. Even though I was familiar with the play, instead of leaving the theater questioning faith, righteousness, and doubt, I was unnecessarily thinking about proof, explanations, and guilt.

The fourth member of the stellar cast is Shonda Thurman. She plays Mrs. Muller, the mother of the boy that Sister Aloysius believes Father Flynn has abused. Though she is only in one scene, her impact on the show is as difficult to accept as any other. Her irrational rationalizations are as heart-breaking as they are disturbing. Nonetheless, Thurman provides a human glimpse into a woman who is faced with disastrously painful decisions everywhere she looks. While most people will find her excuses unthinkable, Thurman is able to successfully create a woman who is clearly only interested in guiding her son through the least painful of multiple evils to a better future on the other side.

As director, Marshall creates a taut and suspenseful vibe from start to finish. The set, designed by Tom Mangieri, provided an appropriately claustrophobic take on the parish, but the finished product didn't seem to rise to the same professional level as the performances.

Ultimately, DOUBT works best when it forces you to question the things in your life of which you are most certain While, I am not sure that this production will elicit that academic of a response, there is no doubt that it will move, frustrate, and challenge you. DOUBT: A PARABLE runs through February 22nd at the Garden Theatre. To purchase tickets, visit the theatre's website, or call the box office at 407-877-GRDN (4736).

---

Did you visit St. Nicholas' Church? Share your thoughts in the comments below, or by "Liking" and following BWW Orlando on Facebook and Twitter. You can also chat with me on Twitter@BWWMatt.

Photo Credit:
1) Michael Wanzie, Shonda Thurman, Ginger Lee McDermott, Chelsey Panisch | Kristen Wheeler & KHphotographics
2) Michael Wanzie | Kristen Wheeler & KHphotographics
3) Ginger Lee McDermott | Kristen Wheeler & KHphotographics
4) Ginger Lee McDermott and Chelsey Panisch | Kristen Wheeler & KHphotographics

To post a comment, you must register and login.