Doubt, in a small curtained-box set flanked by spectators’ chairs in L-shaped formation, proves at The Players of Sarasota the importance of space and spatial relationships in communication. Here in 1964, a church, its outside garden, school gym, and principal’s office become spaces of intense conversations, contemplation, and action intimately shared with an audience. They add up to “A Parable” or allegorical story illustrating moral values. A synonym for “parable” is “homily” and Doubt begins with one. No doubt from Father Flynn’s ingratiating tone, well caught by Allen Kretschmar, that he’s comfortable as a star performing narrative. His up-close-and-personal delivery contrasts completely with strict, distant Sister Aloysius in her austere office for the next scene’s interview with young Sister James (sweet, enthusiastic, likeable Brianna Larson). The principal’s concern is insistence on a “chain of discipline” in the parish school where teachers must resist “performing” and getting others to perform. Obviously, that’s difficult for Sister James, who loves teaching the arts and history. Aside from urging impersonal, no-nonsense teaching and no use of the new ballpoint pens, Sister Aloysius asks alertness toward and help of a fellow sister who’s going blind. This gives Lynne Doyle’s imposing Sister Aloysius a measure of relief from what seem mean attitudes, perhaps even envy. Father Flynn’s pep talk at the gym to the boys’ basketball team includes terrific interactive theater with audience men (one of director Elliott Raines’s inspired touches). It prepares for the priest being called to the principal’s office after she’s learned from Sister James of possible impropriety involving Father Flynn with a troubled eighth grader, the school’s first Negro and probably gay student. “It is my job to outsmart the Fox,” says Sister Aloysius. The meeting with both sisters is supposedly about Christmas pageant planning (and it’s very comical), but friction had already begun as Father Flynn usurped the principal’s place at her desk. Conflict between them continues in and out of the parish, including his giving a parabolic sermon about gossip, his insistence on innocence of anything but concern over the boy, his pleading for his reputation, his attempts to get Sister James and others on his side. How does what happens to him affect her? A major scene involves Sister Aloysius’s interview of the boy’s mother (Jasmine McAllister, strongly compelling). She’s between a rock (a husband who seems to hate their son, maybe enough to kill him) and a hard place (the priest as questionable but not as the boy’s refuge from bullying and path to impending graduation and high school). Can Sister persuade the mother to demand justice that might save others in the future though it may condemn her son now? Will doubts be resolved? What else will the future hold? And what is the moral of the parable? Elliott Raines directs audiences to explore every facet of his Company’s pursuit of answers to these questions. He does so not only through his actors’ substantive characterizations but also by assuring a realistic context for the overall shared search. Authentic costumes as well as necessary props set time and place. In addition to liturgical music in church and at appropriate breaks, the sounds of kids in the school halls and of people in parts of the grounds show the major site of action not as isolated from the everyday world but as one of activity. This is the first production (including the Broadway one) I’ve seen that has conveyed this. A total achievement.
