Doubt A Parable
DIRECTOR: James Cuningham
CAST: Fiona Ramsay, James MacEwan, Janna Ramos-Violante, Mwenya Kabwe
VENUE: Sandton’s Auto and General Theatre on the Square
UNTIL: August 15
RATING: ****
“Have you ever held a position in an argument past the point of comfort? For me, that is an interesting moment,” writes the playwright John Patrick Shanley in his foreword – and for the director this is the key.
Sister Aloysius (Ramsay) is one of those people. She knows what life should be and how to approach it. She never wavers and is determined that everyone in her sphere of influence should follow her rules.
Her peace of mind means she has to have her way, so she manipulates the young, naïve Sister James (Ramos-Violante) to bend to her rules and in the process drains her of all life’s passion especially her joy of teaching her young wards. As her mentor, she tells the impressionable Sister James that she should put some starch in her character and then cultivate it.
Threatened by a charismatic Father Flynn (MacEwan), Sister Aloysius finds fault with his behaviour towards the boys in his care and decides that he has to go.
“You have not the slightest proof of anything,” accuses Father Flynn as he stands accused of abusing a boy.
“But I have my certainty,” retorts Sister Aloysius who has no doubt she will win the battle she has initiated.
Into the fray steps the unwavering mother of the alleged abused child who is determined not to bend to the will of others but argue for the right of her child to get on with his life. She doesn’t want any obstacles in the already rocky road he has to navigate as the only black child in the school – and in his life forward.
All of these issues are swirling about as Cuningham applies a cracking pace to replicate the tornado that is unleashed once Sister Aloysius decides to pursue what she has determined is the moral way.
It’s a brilliantly crafted work that questions the way we approach life and its uncertainty even when we think we are certain. Once we are set on a specific path, and we have all been there, it is sometimes difficult to change course and in the process – right or wrong – lives can be destroyed.
The playwright is very clear about his intent as he opens the play with Father Flynn preaching to the congregation (the audience) about doubt. “There are those of you in church today who know exactly the crisis of faith I describe. I want to say to you: doubt can be a bond as powerful and sustaining as certainty.”
Yet while he juggles these two concepts, he doesn’t supply any of the answers. Dealing in doubt, he leaves his audience with questions rather than supply solutions and this is what makes this such an intriguing play.
Ramsay is brilliant as Sister Aloysius who never dithers. She struggles with change and fights to ban ballpoint pens and to pursue penmanship in the young scholars at any cost. That’s the right way. Ramos-Violante as Sister James captures her sense of obligation in spite of her better judgement. She blows like the wind, hoping to please anyone asking. But that’s not Father Flynn’s way. MacEwan plays him with charm and ambiguity, which is what we need from this man who is the one most defined by the title. Kabwe pulls off what is the most difficult but potentially powerful interlude as the astute mother who knows where her allegiance lies. She is the one most clear about battling for her son.
It’s one that gets your heart and mind running on speed.