Resurrection Theatre has a hit with Doubt: A Parable

“Every time I see this play, I think, ‘This is the definitive production.’”

That’s the verdict from this critic’s companion—also a critic—on Resurrection Theatre’s 2012 season opener, John Patrick Shanley’s Doubt: A Parable. Generally, that would merely be a testament to the power of this Pulitzer, Drama Desk and Tony Award-winning play; in particular, though, this production creates an emotional intimacy that borders on claustrophobic, thanks to a stellar cast, thoughtful direction and sets, costumes, sound and lighting design that go above and beyond.

It’s a simple story, with no clear answers: In an early ’60s Catholic school, a popular priest has a close relationship with an isolated boy. An ironbound nun suspects the worst. What is the truth of the matter and how much weight should we give our doubts?

As Sister Aloysius, the central juggernaut of a nun, Martha Omiyo Kight is fantastic. In the early scenes, she had just a touch of hesitance, but then her conviction took root and it was full-steam ahead for this grand dame of the pre-Vatican II world. The compassionate, naive Sister James is played by Elizabeth Holzman with nuance so that we catch glimpses of an internal compass that will never again be so easily swayed. Dean Shellenberger is Father Flynn, the priest with a fan club; he makes it easy to see why suspicion comes hard and loyalty runs deep. As Mrs. Muller, the boy’s mother, Gloria Jones offers up all the emotional wallop and moral confusion demanded by the role.

Director Alysha S. Krumm keeps things moving at a nice clip, but still leaves the actors plenty of time to show us the dark nights of their several souls. The scenic design, clean and flexible but with plenty to site us in place and time, is the work of John Ewing, with artistic work by Rene DeGarmo and construction by master carpenter Jeffrey Lloyd Heatherly. The lighting design—by Ciara Ashley—and sound design—by Aaron Stewart—give us the seasonal changes in gradations of color and the various sounds of a city parish.

Don’t doubt; see this play.