Springs Ensemble Theatre takes on John Patrick Shanley’s searing morality play.

Doubt: A Parable, the Tony- and Pulitzer prize-winning play by John Patrick Shanley, is often considered to be a modern classic. Currently playing at the Springs Ensemble Theatre, the play explores the loaded issues of predatory sexual conduct, rigid religious convictions, hierarchies and plain old gossip.

Doubt is set in 1964 and features Sister Aloysius (Amy Brooks), a strict Catholic religious and principal of a Catholic school. Sr. Aloysius suspects that local priest, Father Flynn (Emory John Collinson) has initiated an abusive relationship with a new student, Donald Mullen. Mullen, who is 12 years old, is the school’s first African American student — a fact that eventually complicates the moral calculus.

Sr. Aloysius perseveres in her mission to stop the suspected abuse, despite several warning signs: Fr. Flynn’s vehement protestations, an innocent explanation of one disturbing event, and her inability to unearth other evidence for her suspicions.

The play is compact, tightly focused on the battle between Fr. Flynn and Sr. Aloysius. Sr. James (Maia Rychlik), young and eager to please, is caught between the warring parties. Mrs. Mullin (Desireé Myers), whose son has the most at stake, appears in one scene to defend her son’s interests in surprising ways.

Director Jenny Maloney brings a fresh eye to the material. The script calls for the play to open with Fr. Flynn alone on stage, delivering a homily on the impact of doubt and how it can be valuable.

In SET’s production, Sr. Aloysius and Sister James are present, facing Fr. Flynn as he roams the stage. It’s a canny creative choice that makes a virtue of SET’s small space. Collinson’s avuncular Fr. Flynn acknowledges and pulls the audience into the play.

Desiree Myers, left, as Mrs. Muller and Amy Brooks as Sister Aloysius in ‘Doubt.’ | Photo: Ellie Hinkle

The set design features a stained-glass cross and faux marble walls. It’s simple and serves the play’s modest requirements. Sound Designer Jeremiah Walter contributes intra-scene organ and choral music that help to establish an ecclesial atmosphere.

The less convincing aspects of the production are rooted in the play itself. Ostensibly, Doubt sets up two well-matched foes in ambiguous circumstances and explores the implications of rigid moral certainty. However, Sr. Aloysius’s rigidity is demonstrated in arbitrary rules and petty prejudices, such as what to make of a priest’s manicure or the spiritual status of Frosty the Snow Man.

Her villainy (if that’s what it is) is too often ridiculous and indeed, most of the audience’s laughs at this production were at the schoolmistress’ pronouncements. This makes it fatally easy to dismiss her concerns about Fr. Flynn. She seems malignant — but not that much of a threat.

For his part, Fr. Flynn’s denials are categorical. The questions of his conduct are so thinly substantiated that only Sr. Aloysius’s zeal keeps the mystery alive.

Ironically, the possibility that Fr. Flynn has crossed the line with Donald Muller is indirectly supported by Mrs. Muller, who astonishes Sr. Aloysius with how she views her son’s best interests.

SET’s cast is quite strong. As Sister James, a part that could be a cipher, Maia Rychlik evinces liveliness underneath her fundamentally deferential attitude toward Sr. Aloysius. Myers turns her one scene into a showstopper.

Aspects of the characterization by the two leads, however, play into the shortcomings of the play. As Sr. Aloysius, Brooks is particularly affecting in the final scene, as the headmistress surveys the outcome of her schemes. But though spirited and determined throughout the play, she is never intimidating.

On the flip side, the habitually winning Collinson is all sweet reason and concern. He never seems nervous or defensive. Sparks fly in the principal-priest showdown, but the play’s tension and purported moral ambiguity has been undercut.

Doubt unquestionably generates important questions about judgment and compassion. SET has once again given the Colorado Springs theatrical scene an accomplished production of a notable and influential play.