Susan Granger’s review of “Doubt” (Walter Kerr Theater – 2004-2005 season)
Without doubt, “Doubt” is the richest, most gripping and exciting drama to hit Broadway in a long, long time. If you can see just one play this season, “Doubt” should be your choice.
Written by John Patrick Shanley, it’s compelling, absorbing and timely, delving into the nature of dealing sexual abuse within the hierarchy of the Catholic Church. Set in 1964 at St. Nicholas Church School in the Bronx, it begins as idealistic young Father Flynn (Brian F. O’Bryne) is preaching about doubt as a contemporary necessity for growth. Doubt isn’t weakness, he asserts. Instead, doubt brings about change which, Flynn argues, is vital and beneficial.
None of this appeases elderly Sister Aloysius (Cherry Jones), the parochial school principal who is suspicious about Father Flynn’s “going out in the community and making believe that you are just one of the other folks.” And she suspects that Father Flynn has violated the priesthood by “befriending” a young, black altar boy. “I will bring him down,” she vows. Her devious plan involves manipulating an unwitting, novice history teacher, Sister James (Heather Goldenhersh), as a “witness,” when she confronts the boy’s street-smart mother (Adrienne Lenox).
Under Doug Hughes’ deft direction, Cherry Jones is brilliant and she’s masterfully matched by Brian F. O’Byrne. In supporting roles, Heather Goldenhersh and Adrienne Lenox excel. Kudos to John Lee Beatty’s two rotating sets and the authentic simplicity of Catherine Zuber’s costumes.
What’s most intriguing about “Doubt” is that all the “facts” exist in the eye of the beholder. Truth lies in that gray area of ambiguity. Did he or didn’t he commit an evil act? It’s your call – and I suspect the playwright is delighted when discussions continue long after the curtain falls.