Two decades after its Tony and Pulitzer Prize-winning debut, John Patrick Shanley's "Doubt" graces the Broadway stage once more. This gripping revival, directed by Scott Ellis for the Roundabout Theatre Company, stars the formidable Amy Ryan and Liev Schreiber. While the play itself hasn't been altered, the cultural landscape around it has shifted dramatically, lending the production a fresh and unsettling potency.
The year is 1964. The play centers on a chilling mystery – a suspicion of abuse against a young boy by a priest. Back then, the concept of "alternative facts" hadn't permeated society. People weren't as readily inclined to cling to personal narratives, regardless of the truth. The current climate of "cancel culture" adds another layer of weight to the play's themes.
"Doubt" compels us to question, to grapple with uncertainty. In our era, where unwavering belief seems to be on the rise, the play's message feels more relevant than ever.
Stepping in at the eleventh hour for Tyne Daly, Amy Ryan delivers a tour-de-force performance as Sister Aloysius, the stern principal of a Catholic school in the Bronx. Her steely gaze, framed by formidable spectacles, leaves no room for doubt – she is a woman on a mission. Ryan imbues Sister Aloysius with a near-ferocious determination, a woman convinced of her own righteous pursuit, even as the lines between suspicion and truth blur.
Liev Schreiber brings a contrasting presence as Father Flynn, the priest under suspicion. His sermons, delivered with thoughtful contemplation, paint a picture of a man not prone to rash actions. Schreiber portrays Father Flynn with a disarming amiability, a stark contrast to Sister Aloysius's rigid piety. The dynamic between these two titans of stage is electrifying, as they engage in a battle of wills with devastating consequences.
A particularly haunting scene unfolds when Sister Aloysius confronts Donald's mother, Mrs. Muller (played with quiet strength by Quincy Tyler Bernstine). Faced with baseless accusations, Mrs. Muller displays a chilling realism. Her yearning for any kind of positive adult interaction in her son's life underscores the tragedy of the situation. Bernstine's performance is a masterclass in understated emotion – a tapestry of weary acceptance woven with a mother's fierce protectiveness.
Zoe Kazan delivers a nuanced performance as Sister James, the young teacher caught in the crossfire. Her growing unease with Sister Aloysius's manipulations and her instinctive trust in Father Flynn are conveyed through subtle expressions and nervous glances. While the performances are universally exceptional, the set design by David Rockwell leans a touch too heavily towards naturalism. Considering the play's allegorical nature, a more stylized approach might have been more fitting.
This minor quibble aside, the Roundabout Theatre Company's revival of "Doubt" is a resounding success. The play's exploration of faith, doubt, and the devastating consequences of blind accusations remain as relevant today as they were two decades ago. The exceptional cast and nuanced direction breathe new life into the script, leaving audiences grappling with the play's haunting questions long after the curtain falls.
