In the work of Kate Durbin as Sister Aloysius Beauvier and of Trish Brown as Director in the current Prism Theatre Company production off John Patrick Shanley’s Doubt, a parable, I think we can see the finest production of this play since Cherry Jones was at the Fox as Sister Aloysius in the touring company of the Broadway production several years ago.

Sister Aloysius is the principal of the St. Nicholas Church School in the Bronx in 1964. No doubt inspired in part by nuns who taught Shanley as a boy, she is firmly dedicated to the Catholic education that is her life’s work. She is viewed by many today, and by some even in 1964, as rigid, doctrinaire, unsympathetic to the reforms currently being put in motion by the Second Vatican Council. Shanley heightens the impression of her as a medieval relic by giving her a speech about the bad effect ballpoint pens have had on students’ penmanship. She even, none too subtly, lets the school’s younger priest be aware of her disapproval. If the actor and director are not careful, Sister Aloysius can begin to appear comically shallow and silly rather than committed to high standards, perhaps to an extreme sometimes.

We first meet Father Flynn in his pulpit in the school’s chapel, delivering a sermon on the importance of uncertainty, of doubt, of reserving judgment until we have all the information  – a sermon all too appropriate to what is to follow in the play. 

With rumors rising about Father Flynn’s relationship with young Donald Muller, the school’s first African-American student – they were seen going together into the sacristy after a morning mass, and alcohol  was smelled on Donald’s breath – Sister Aloysius arranges a meeting with Donald’s mother, Mrs. Muller. Asked what Donald thinks of Father Flynn, Mrs. Muller replies that Donald is flattered by Father Flynn’s interest and delighted by their friendship. When Sister Aloysius suggests that this might not be an altogether healthy relationship, Mrs. Muller says that Donald needs a relationship with a mature man because he and his father do not get along, with frequent paternal beatings, probably because Donald may be “that way.” If the relationship becomes more physical, she says it is important that Donald stay at this school because things are worse at the local public school. 

Without the support she had hoped for from Donald’s mother, Sister confronts Father Flynn directly, telling him that she has checked with the head nun at his last position, and that she knows why he had to leave there. She insists that he also leave here, or she will reveal what she knows. He pleads to be allowed to follow his vocation as a priest, and she suggests he use the phone in her office to call the bishop. Which he does. 

When the bishop not only arranges a transfer but makes it in effect a promotion as pastor of a nearby parochial school, Sister Aloysius, who has totally dedicated herself to the Church, cries out in real pain that she now has “such doubts.” 

I have already indicated what I think of Kate Durbin’s performance as Sister Aloysius, that it is exactly right. Even when she seems most rigid, even ridiculously so, Durbin manages always to make you aware of the dedication to the work and even the love for the students that drive Sister. It is beautifully and movingly done.

Jeffrey David Thomas’s Father Brendan Flynn charms his way through life, even when he is being firm while coaching the school’s basketball team. That combination of charm and firmness expresses his real dedication to his calling to be a priest. He can teach, he can preach, he can mentor, he can be a big brother, a friend. And that last can turn into a problem. He has a need, a physical need as well as a personal need, for that kind of closeness to another person, preferably a male person. As we know now, after many revelations of priestly perversions, Father Flynn grew up surrounded by such things, probably himself initiated into them by a man, perhaps a priest. So he must find a way to do the job he loves and find the other satisfaction he craves.

Rhiannon Creighton also is exactly right for her role, the young nun Sister James. She’s all innocence, thrilled to be working beside Sister Aloysius, excited by Sister’s intelligent dedication, dismayed by Sister’s harshness. 

Laurell Stevnson’s character Mrs. Muller, Donald’s mother, must carefully negotiate with this white world, above all keeping her beloved son in this school, whatever that may take. You simply pull for her, hoping she can make it.

Scenic Designer Matt Stuckel made smart use of the space in the Kranzberg Black Box. With the audience on risers on two long sides of the theatre, he clearly and attractively makes clear where we are, dividing the stage into three locations: one Father Flynn’s pulpit and briefly his gym, opposite it Sister Aloysius’s office, and between them a charming little garden. Tony Anselmo’s lights complement the divisions. Costume Designer Sam Hayes had essentially three uniforms — two nuns, one priest — a challenge she met handily, as she did Mrs. Muller’s best outfit. Jacob Baxley designed the sound, church bells and all. Technical Director is Caleb Long and Stage Manager is Joy Addler. 

And, to repeat myself, Director Trish Brown also got it all right. 

Thanks, Prism Theatre Company, for your fine presentation of Doubt, a parable.

—Bob Wilcox

Photo by Kim Howland
Father Flynn (Jeffrey David Thomas ) faces off with Sister Aloysius (Kate Durbin) in Doubt: a parable.