“Solid performance work in this ‘Doubt’ counterbalances some puzzling artistic choices.”

Set in 1964 in the Bronx, New York City. St. Nicholas Catholic Elementary School principal Sister Aloysius Beauvier (Jacklyn Francis) suspects an improper relationship between an unseen and new 12-year-old black student, Donald Muller, and the charismatic parish/school priest, Father Flynn (Karl Ang). Sister Aloysius believes she can only achieve justice by involving the young lad’s teacher, Sister James (Cassandra Pires), and his mother (Gloria Mampuya).

The backdrop of 'Doubt' is the Second Vatican Council from 1962-1965, which Pope John XXIII called to update the Catholic Church and better connect with people in an increasingly secular world. The Council aimed to improve some of the Church's practices and present them in a way that congregation members could understand.

The Council divided Catholics—some were for it and others against it. Father Flynn believes in the welcoming face of the Church, while Aloysius firmly adheres to the tenets of the Faith pre-Vatican 2.
Some unclear directorial decisions by Lisa Karen Cox puzzle me and prevent this ‘Doubt’s’ impact from reaching its full potential.

Let’s begin with some of her sound choices, though.

To my ear, I did not hear the actors try speaking with a Bronx intonation. Rather than try something that might not be consistently maintained, the performers allow Shanley’s dialogue to speak for itself. That choice works.

As the audience enters the Firehall auditorium, they are greeted by a small table of votive candles. This thoughtful detail serves as a reminder that they are entering a sacred space, not only for the actors but also to understand the influence of the Church.

Designer Jawon Kang's sparse set is angled downstage. The floor resembles a board game, where Cox blocks the characters in their chess-like movement, signifying who has the power at a given moment. Because of this, she creates compelling visuals throughout.

Additionally, Kang’s vast cut-away crucifix design sometimes serves as Father Flynn’s entrances and exits. The same occurs when Sister Aloysius pushes part of the back wall out to move the bushes being pruned for the winter. Quite clever indeed.

Upon entering the Firehall auditorium, I was immediately drawn to Samay Arcentales Cajas's projection designs. The projection of a barren tree branch suggests that fall is in the air. Jacob Lin uses his sound design to enhance the suspense at a specific moment, most notably when Aloysius and James spoke outside in the garden while Flynn was in the rectory, teaching the boys about manhood. Christian Horoszczak's lighting design adds to the intensity as Flynn and James converse in the garden about Aloysius's crusade to expose the priest. By combining the work of these visual designers, Cox successfully creates a focused intensity that keeps me on the edge of my seat, fully engaged in the conversation between these two characters.

Karl Ang stands out for his confident and compelling portrayal of Father Flynn, most notably during his confrontation with Aloysius in her office. Ang subtly and alarmingly suggests something improper may have occurred. Gloria Mampuya delivers a powerful performance as Donald’s mother. Mampuya shows natural, consistent, and believable reactions. Her portrayal is controlled and restrained, conveying Mrs. Muller's emotional turmoil through stillness and attentive listening, even when she shares shocking news about her son and his father.

Shanley has written articles stating that in 'Doubt,' the story is seen from Sister James's point of view. Cassandra Pires’ work reflects this significance. She portrays Sister James as sweetly demure yet assuredly tested each time she interacts with Aloysius. James's final appearance with Aloysius at the end of the show suggests that a once hopeful, energetic, and youthful teacher becomes disillusioned with the profession and feels unfulfilled in helping young people.

Jacklyn Francis takes several minutes to convince me of her portrayal of Sister Aloysius's prickly personality. In her first scene with Sister James, Francis doesn’t convey the image of a strict disciplinarian and dedicated school leader whose vital duty is to protect her students.

However, that changes where Flynn is invited to tea in Aloysius’s office. In this scene, Cox has Francis stealthily moving around Ang after he takes her seat at the desk. It’s intriguing to watch Francis ponder and think before speaking and then move with purpose and intent, like a cat about to pounce on a mouse.

Unfortunately, several of Cox’s choices pulled me out of the plot’s action, and it became a bit challenging to maintain focus.

At the top of the show, Flynn and the Sisters enter from the back of the auditorium. Flynn dons the traditional vestments that priests wear to celebrate Mass. He raises his arms to the congregation as if to begin the first homily about doubt.

It’s a breathtaking opening. I wait with anticipation, expecting to see a charismatic priest speak to us.

That doesn’t occur. Flynn exits. Instead, the audience watches the opening homily about doubt and the one about gossip and intolerance projected on a screen.

Why?

I felt let down I couldn’t see and listen to Ang deliver these two sermons live.

This isn’t COVID 2020-2023 when the mass was celebrated on television and online. It's 1964. Had that been forgotten? Parishioners would have gone to Church as a family. St. Nicholas’s Parish would have been at or near capacity because Flynn is youthful, vibrant and a role model for the kids. Filming the homilies creates distance, and ‘Doubt’ is a play about making connections.

About halfway through, Sister James sits alone in the garden for a few moments, praying silently. Flynn immediately enters to begin the conversation. That scene does not ring true at all. It feels rushed.

If someone is praying, let the audience see the individual doing so even briefly. Flynn follows James into the garden and watches her. His actions raise the intensity, as he knows she always prays there. It’s another moment of a cat-and-mouse approach. Let the audience feel the tension rising and watch in silence.

Francis and Pires's head coverings do not match the 1964 Order of the Sisters of Charity to which James and Aloysius belong. They should have worn black bonnets instead of the black veil coverings, which have been worn in most of the professional live productions I’ve seen, including the original Broadway replacement cast.

A slight quibble involving the telephone on Sister Aloysius’ desk. I had to do some quick online research and discovered that there would have been push-button phones in 1964. However, this one looked like it was taken from the Bell Canada store. Even though St. Nicholas School would have been classified as one of the better schools in the Bronx, I don’t believe there would be evidence of push-button phones at that time, as Aloysius would probably say that was a luxury.

Final Thoughts: In her Programme Note, Cox writes what lessons need to be learned from ‘Doubt.’ She hopes audiences will challenge themselves by listening, questioning, and identifying the root of motives and desire. Doing so is not for the faint of heart, as uncertainty is always exhausting.

For the most part, Cox succeeds in setting out what she wants to do with Shanley’s twenty-year-old play about moral uncertainty. As a practicing Catholic, I still find ‘Doubt’’s story compelling. Cox wants the audience to take the time to be together regarding this moral uncertainty, albeit uncomfortably, and think for themselves.

The play's and this production's endings are still gutting. Jacklyn Francis holds me in her hands as the lights dim. Her closing performance speaks volumes.

I just wanted to experience and invest more in that emotional connection.

Running time: The programme states the run time is approximately 90 minutes with no interval/intermission. When I checked the time on my phone, it was 75 minutes. Please try not to rush that one scene in the garden I mentioned earlier.

‘Doubt: A Parable’ runs until September 29 at the Firehall Theatre of Thousand Islands Playhouse, 185 South Street, Gananoque. For tickets, visit www.1000islandsplayhouse.com or call the Box Office at (613) 382-7020.

THOUSAND ISLANDS PLAYHOUSE presents
‘Doubt: A Parable’ by John Patrick Shanley
Directed by Lisa Karen Cox
Set & Costume Design: Jawon Kang
Lighting Design: Christian Horoszczak
Sound Design: Jacob Lin
Projection Design: Samay Arcentales Cajas
Stage Manager: Dustyn Wales

Performers: Karl Ang, Jacklyn Francis, Gloria Mampuya, Cassandra Pires