June Contreras
Mr. Bengford
Drama II 3
December 4, 2006
Critique: Doubt
Doubt, a very original play written by John Patrick Shanley, chronicles a supposed crime occurring inside a parish. The play, under the direction of Doug Hughes, was performed on Wednesday, November 29, at Golden Gate Theatre in San Francisco. The story features the character Father Flynn, a priest who enjoys teaching the young boys religious concepts and the art of basketball. His manner with the children is friendly; conservative nun and parish principal Sister Aloysius suspects him of becoming too friendly with one of the children. She accuses the priest of harboring an inappropriate relationship with the child, who happens to be the first African American pupil of the school. Younger nun Sister James, who looks up to both of these figures, finds herself caught in confusion.
Cherry Jones portrays Sister Aloysius, Father FlynnÕs worried accuser. Her vocal expression conveys her attitudes and moods. When asserting her views of appropriate methods for teaching the children, Jones speaks with conviction. She accurately expresses the nunÕs conservative perspective, and enhances her words with disgust and rage while condemning Father Flynn. The actressÕ enunciation is loud and easily understandable. Cherry Jones does not limit her means of communication to voice. She uses her body to show both her age and her feelings. Her motions lack very much speed, as is appropriate for her aging character. Her growing exasperation with the supposedly subordinate priest becomes more apparent as her motions grow as well, becoming more tense. Her relationship with the Father Flynn is obvious; besides despising him for the atrocity she believes he has committed, Sister Aloysius feels threatened by his more modern, open ideas that seem to her lax and ineffective. At first, her detest is subtle, but her anger makes it expand. Also, Sister Aloysius nurtures a relationship with the young and impressionable Sister James, a na•ve girl to whom the elder offers guidance.
Chris McGarry plays Father Flynn, the priest who is accused of abominable acts involving a small boy. An interesting note is that McGary must have had to exercise extreme caution when playing his role; the play never actually mentions whether or not Flynn is indeed guilty, and he must maintain this ambiguity. Part of the audience leaves the theater certain that he is guilty; another part leaves under the assumption that he is innocent. His voice and body language when communicating with his students do establish that he derives pleasure from coaching adolescents. His tone around the children is playful and instructive. His argument with Sister Aloysius becomes harsh, and, like the Sister, his speech and body movements rise with his excitement level. The actor transitions easily from mild concern, to panic, to outrage at the nunÕs apparently insolent behavior, to whining desperation as he pleads with her. The characterÕs brief conversation with Sister James marks a trust between the two of them, assuring, at least for that one moment, his innocence. All motions and articulations are loud and clear.
The set of Doubt is very simple; all of the play takes place within the parish. The transition from place to place within the parish is shown as a sort of giant turntable switches items onto stage, such as the head nunÕs office and the garden. This apparatus is quite interesting and amazing. The different positions of an upstage statue relate the different areas of the parish, though the motion itself is unnoticeable. The limited sets are quite appropriate to the storyline. Cold lighting also fits this very serious and disturbing story. The costumes are, of course, those of a priest and some nuns; this is the only way they can be. Makeup makes the charactersÕ features more distinct, even from all the way in the back of the theater. Only minimal sound effects were used, such as the chirping of birds that initiated the conversation between Father Flynn and Sister James. This fits In with the simplistic style of the piece; its impact is not achieved through technological spectacle.
The audience in DoubtÕs theater was exceedingly attentive. There were certain moments at which they laughed, certain moments at which they gasped, and certain moments at which they cheered. The audience members reacted in varying ways to the production. The play is stimulating and dynamic. This is not a show that merely provides a few hours of light entertainment. Actually, this is a show that each viewer must consider for him or her own self, and every person comes up with different thoughts. After the play is over, it cannot be forgotton: one must confer with fellow audience members to decide whether the priest did commit horrible crimes. The play never states the answers to the questions the viewers want to know, instead forcing them to come up with their own. As the title suggests, this is a production that leaves its audience in doubt.
