It is easy to point fingers at others for the crimes they commit, but if action is taken before all doubt is cleared, the hero can easily become the villain.
This was the premise of the ambiguous ending of the classic play "Doubt," directed by Chad Winters and performed at the Vonnie Borden Theater last week. Winters took the traditional route with this production, staying true to the play's original nature.
"Doubt" presents the story of the stern Sister Aloysius and her suspicions about a possible sexual relationship between a male student and the priest, Father Flynn.
I attended the play determined to maintain an objective, critical eye. After analyzing the play from every angle I could conceive of: costumes, set, lighting, music, acting, directing and audience engagement, I could not find a single aspect of the performance to be critical of.
The two settings-the teacher's office and the garden-were perfectly suited to the nature of the play. The plain, drab office setting and serene garden added to the thematic elements of the hierarchal structure of the church and questions of spirituality and judgment that were explored in the play. The office setting was simple, yet represented the strict, conservative environment well. The desk and chairs were cleverly utilized to subtly symbolize the power struggle within the church-whoever sat at the desk held the power in the room. When Sister Aloysius invited Father Flynn to speak to her about an upcoming pageant, he boldly takes a seat at her desk chair. When Sister Aloysius confronts Father Flynn about her suspicions, he stands up in shock and she reclaims her seat to assert authority.
The garden was a tranquil contrast to the rigid atmosphere of the office. In the garden, characters conversed on a more personal level, revealing the humanity behind the professional facade. I was particularly fond of the garden's centerpiece, a humble statue of the Virgin Mary nested among a bed of flowers. The two sets were cleverly used to represent the themes of dogma, judgment and moral authority throughout the play.
I feel one of the biggest strengths of the production is the realistic acting. The characters were so 3-dimensional that they reminded me of people that I know. The innocence of Sister James was particularly convincing, as the actress adopted the soft features and gentle mannerisms one would expect from a young naïve woman. The actors were incredible at engaging the audience. The characters' interactions were so dynamic that I was emotionally exhausted after watching Sister Aloysius confront the pastor and the child's mother. Judging from the audience's laughter, gasping and comments after the play, I am not the only one who was enchanted by the plight of the characters.
Winters did an excellent job in staying true to the original production, and the actors truly brought the characters to life. This is one of the best productions I have viewed at Southeastern.