Platte Valley Player’s four-person play is a dynamic rumination on the Catholic Church
Theatre doesn’t get much better than this. Director Kelly Van Oosbree and assistant director Victoria Holloway have staged a masterful rendition of John Patrick Shanley’s searing drama Doubt, a Parable up for two weekends only at the Armory Performing Arts Center.
All elements — from Brian Mallagrave’s alluring scenic design that provides a powerful frame for the piece to Brett Maughan’s moving lighting design to the four actors’ engaged and deeply affecting performances — seem to come together just right for the Platte Valley Players. This small theatre company may not be widely known, but everything about this production feels exceptionally professional, down to the company’s decision to produce Shanley’s brilliant Pulitzer Prize and Tony Award winning play about corruption in the Catholic Church.
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The play is set at St. Nicholas Church School and follows Father Flynn (Jeffrey Parker), whom the school’s principal, Sister Aloysius (Karen Krause), deeply mistrusts. When a young nun, Sister James (Rachel Graham), tells Sister Aloysis that Father Flynn met one-on-one with Donald Muller, St. Nicholas’s first African-American student, Sister Aloysis suspects sexual misconduct occurred.
She and Sister James confront Father Flynn, but he has an alibi. Sister Aloysis still believes something is wrong, so she arranges to meet with Donald Muller’s mother, (Ghandia Johnson) to discuss the matter. Though Mrs. Muller is uncomfortable with the news Sister Aloysis presents her about Donald and Father Flynn’s relationship, she largely dismisses it.
Mrs. Muller explains that the school provides her son, whom the family believes is gay and is being beaten at home by his father, with opportunities to get into a good high school and have a decent life. As Sister Aloysis works towards exposing Father Flynn, doubts about her own actions begin to set in.
Shanley’ narrative approaches the abuse of the Catholic Church on an interpersonal level that really allows the actors to explore the psychological effects these allegations have on them. Oosbree’s casting is spot-on, and her work with each of the actors results in captivating, well-rounded performances.
Krause deftly communicates her character’s suspicious philosophy. She plays Sister Aloysis as someone who presents herself as a cold, harsh instructor for the good of her students; yet, in her intimate conversations with Graham, as Sister James, Krause allows us to see cracks in her armor and reveals her as a sensitive, tender-hearted person who cares deeply about those around her. Even so, she’s learned to be distrustful of those who rise to power through hierarchies.
Graham is convincing as a young nun who hasn’t needed to face the cruel realities of the world; she makes an excellent foil for Krause, and it is compelling to watch her allegiances shift between Sister Aloysis and Father Flynn. And you understand why Graham could be charmed by Parker’s performance as Father Flynn.
Parker leads with likeability. His bright eyes, big smile and even-keeled demeanor are incredibly charming, but there’s something going on beneath his loveable exterior. When pressed, Parker gets dangerous and fights back hard. Though the majority of the show is alluring and restrained, the moments when his mask is removed and Father Flynn’s dark side is revealed give the audience just enough reason to be suspicious of his actions. Parker is fantastic in the role and commands your attention every time he’s onstage.
Though she appears in just one scene, Johnson makes quite an impression as the conflicted yet incredibly well-intentioned Mrs. Muller. When presented with horrifying information about her child, we see a moment where Johnson winces at it, but she quickly suppresses that to press forward. Unlike Sister Aloysis, who is sheltered by the church, she and her family have to survive in the real world, where bad stuff happens every day. She knows the school is her son’s best shot at success, and she isn’t going to let Sister Aloysis ruin her son’s future by dragging him into this drama. Her exchange with Krause is tense, and her exit is chilling.
Oosbree’s staging is sharp and takes full advantage of the multi-level space Mallgrave designed. It’s a dialogue-driven play, yet Oosbree never allows the play to stagnate or become monotonous. Each scene seamlessly bleeds into the next, and the staging is consistently inventive.
Her direction provides no clear answers to the audience; instead, as one of the attendees of the show’s talkback remarked: “It felt as if [Oosbree] was forcing us to judge these characters and grapple with our own doubts about each of their motives.”
Even though it’s been a few days since I saw the show opening night, I haven’t been able to stop thinking about it. Was what they did right? What is best for Donald? Did it really change anything? Oosbree’s direction leaves more questions than answers, which is all too similar to the real-life murkiness of the Catholic Church’s scandals.
Each production features a talkback with the cast after the show, which I would highly recommend staying for. The cast has done their homework on this text and also has a natural off-stage chemistry that makes the audience feel comfortable enough to have a real conversation with the performers about their work.
Doubt, a Parable may not be suitable for younger audiences, but I’d highly recommend everyone, teenagers and up, get tickets for the Platte Valley Players’ final weekend of performances. Oosbree’s tender staging of Shanley’s poignant work is not to be missed, thanks to the polished tech and beautiful acting.
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