Doubt

 

The current production of John Patrick Shanley's play Doubt (starring Amy Ryan, Liev Shreiber, Zoe Kazan, and Quincy Tyler Bernstine) is not as good as the amazing original production from 2005 (starring Cherry Jones, Brian F. O'Byrne, Heather Goldenhersh, and Adriane Lenox), but that's okay. This well-directed, well-acted, solid production does justice to the excellence of the play. 

Liev Schreiber, Amy Ryan
Photo: Joan Marcus

And an excellent play it is! The story of a high school principal (Sister Aloysius; Amy Ryan) in the 1960s suspecting a priest (Father Flynn; Liev Schreiber) of "interfering" with a 12-year-old African-American boy, Doubt expertly shows how perceptions of guilt and innocence differ among observers, even when exposed to the same evidence. Once Sister Aloysius begins suspecting Father Flynn, she perceives everything he says and does as proof of his guilt; it's a case study of confirmation bias. (However, the fact that she finds him guilty with insufficient evidence does not prove he is innocent!) 

Doubt also examines sexism in the church, old ideas versus new, and how values can clash even when people are acting in good faith (if, indeed, they are acting in good faith). 

Then there is the mother of the boy, who is vividly aware of the benefits--and costs--to her son of being in this school. She lives in a world where difficult, horribly pragmatic decisions sometimes need to be made, and she has the strength to make them. Her one scene, an extended discussion with Sister Aloysius about Father Flynn's treatment of her son, is complex, surprising, and in many ways the core of the show.

Amy Ryan clearly depicts Sister Aloysius's rigidity and lack of humor. I was disappointed not to see Tyne Daly, who had to drop out due to health problems, but the level at which Ryan is performing--with virtually no rehearsal--is impressive. Liev Shreiber is good as the priest, but I expect more than "good" from Liev Shreiber. His sermons are remarkably bloodless. Zoe Kazan does sweet ignorance beautifully; her innocent face works in her favor. Quincy Tyler Bernstine is effective as the mother, though I wish there had been more fire in the scene between her and Sister Aloysius.

The design elements are a bit odd. The scenery is attractive but the scenic designer (David Rockwell) is not kind to people sitting audience right, with a wall often in the way of a clear view. And the director (Scott Ellis) is no better: we had the Zoe Kazan's back for much of the show and were given only two brief opportunities to see Quincy Tyler's Bernstine's full face. I don't know if "cheating" (that is, subtly moving one's body over time to be better seen by the audience) is considered old-fashioned, but it surely would have been welcome. The costuming is effective, except that Father Flynn's clothing was a little too nice; did the pants of priests in the early 1960s really taper so perfectly? The lighting is beautiful, clean, and subtle. 

My feelings about Doubt have evolved over the years, as thousands of priests have been revealed as serial molesters. I was more open to the idea of Father Flynn being innocent in 2005. However, Doubt is so well-written that I am still not 100% sure what I think. 

Perhaps the most impressive thing about Doubt is that, under all of the ambiguity and thoughtfulness and compassion lies a brilliantly smooth structure. The play is economical and its 90 minutes seem to take half that time. I suspect, and hope, that Doubt will be done over and over again well into the future. It certainly deserves to be!

Wendy Caster