Photo by Brad Goda courtesy of Manoa Valley Theatre
Jo Pruden is Sister Aloysius and Russell Motter is Father Flynn in the drama “Doubt.”
Did he or didn’t he?
Manoa Valley Theatre’s riveting production of the prize-winning ‘Doubt’ challenges the thinking audience
By Brother Gary E. Morris, SM | Special to the Herald
In the best of all theatrical worlds, all that audiences need to be enthralled is an intriguing story illuminated by outstanding performances. Manoa Valley Theatre’s current production of John Patrick Shanley’s “Doubt” delivers those qualities with rich textures, captivating intrigue and some polished, truly sterling performances.
The dramatic tension in “Doubt” is built upon the suspicions that Sister Aloysius, principal of St. Nicholas Catholic School, has about the possible sexual misconduct of her parish priest, Father Flynn. Set in 1964, the story takes place on the cusp of the explosive changes in the Catholic Church after Vatican II, and long before the explosive issues surrounding sexual misconduct became headline news.
Shanley, a Bronx-born Catholic, said in a New York Times interview shortly after his play debuted several years ago that “the title Doubt really had the power for me, not the Catholic Church scandals. … I meant that to be implied in a variety of ways as a powerful and useful tool to answer something in the culture.” However, the play cannot avoid facing the unthinkable aspects of these scandals — but with informed restraint.
There is no doubt about one aspect of Shanley’s play: Sister Aloysius and her unflinching determination to bring down Father Flynn is the lynchpin upon which the play hinges. And there is no doubt that Jo Pruden’s Sister Aloysius is one of the strongest, nuanced and richly-textured performances that you will see on any stage in a long while.
Pruden snaps out her disapproval of teachers becoming friendly and compassionate over the need to discipline students to prepare to face the cold world. When she is smugly sure that Father Flynn (Russell Motter) is trying to seduce an eighth grade boy, she unflinching charges him with unproven allegations. With icy determination, Pruden’s nun is willing to destroy both his reputation and her own. To help build her case, she asks for help from idealistic Sister James, whose faith in love and compassion are crumbling, and from the mother of the accused boy, who staunchly protects her son, the only black student ever admitted to St. Nicholas School.
Melanie Garcia’s performance as Sister James is an appropriate counterpoint to Sister Aloysius. Garcia capably projects the innocence and freshness of a young nun who believes in her vocation to love, respect and enjoy the exuberance of her students — unlike the older nun, whose motto about dealing with a student is to get him “… through, out the door, and then he’s somebody else’s project.” Sister James aptly describes her superior with the line, “She discourages warmth.”
The other two actors meet most of the challenges of their roles. Russell Motter has a tough assignment playing Father Flynn. The priest’s brusque persona and superior attitude clearly do not make him a sympathetic character. These qualities are not strong enough in Motter’s performance, and he appears to be physically uneasy with the character. Some awkward fidgeting and posturing also hinder Annette Kauahikaua (Mrs. Muller) in a role that calls for a much stronger, independent, well-centered performance as the accused boy’s mother.
Willie Sabel’s pleasant dual-level unit set of gothic arches, grilles, benches and oversized stained glass windows ably represent the vestiges of the “old” church in a period of transition. Janine Myers’ lighting design complements the moods and movements of the play nicely, and Anthony Treigle’s sound design and Lorena and Kimmerie Jones’ costumes provide the right touches of authenticity for the production.
Director Vanita Rae Smith does a fine job staging this difficult and controversial play, a play that garnered many awards in its history, including a Pulitzer Prize and multiple Tony awards. The Manoa Valley Theatre production is worth a visit. The Catholic community particularly would have a lot to think about regarding the play’s message.
As for Father Flynn, did he or didn’t he? If you come to the play seeking a tidy conclusion, be advised that “Doubt” lives up to its title. You will find that, at the end, only John Patrick Shanley knows for sure. As he says: “Doubt itself is a passionate exercise.”
Marianist Brother Gary Morris teaches theater at Chaminade University of Honolulu. He is also an actor and will perform in an upcoming TAG production of “Mass Appeal.”