“Stella Gonet is magnificent as Sister Aloysius, her mounting obsession and rage are compelling”
It’s easy to see why John Patrick Shanley’s play won the Pulitzer Prize for Drama and a Tony for Best Play in 2005. The writing is assured and Shanley builds the tension arising from the moral ambiguities of the story with consummate skill. Gripping and thought provoking, this powerful play makes the audience question preconceptions and judgements, keeping us all in doubt.
The setting is a church school in the Bronx in 1964. The school is run by a stern, conservative nun, Sister Aloysius. The first line in the play, ‘what do you do when you’re not sure?’, is spoken by Father Flynn, the popular and progressive parish priest. Sister Aloysius disapproves of Father Flynn and when Sister James, a young nun, tells her that he met with Donald Muller, the school’s only African-American student alone, her suspicions are aroused. On extremely tenuous evidence she becomes convinced that Flynn has abused the boy and determines to confront him.
Having delivered his first sermon on the subject of doubt, Flynn delivers his second on the evils of gossip, using a parable to illustrate his point. Sister James is troubled, already undermined by Sister Aloysius she want to believe Father Flynn, but is mired in doubt and uncertainty. When Donald’s mother is called in to meet with Sister Aloysius she reacts angrily to her suspicions of Father Flynn and is determined that her son must stay at the school, it’s a big thing for him to be the first and only black student there, and he has the chance of getting into a good high school if he stays. She is pragmatic, ‘that’s the way it is.’
Che Walker’s direction deliberately leaves the audience unsure. He said ‘I want them to be completely unsure. I would have failed if they walked out with any certainty about anything.’
As audience members we are confronted by our preconceptions. Who should we believe? With two of the greatest scandals befalling the Catholic church in the 20th and 21st centuries being child abuse by priests and the damage done to countless children who were educated by nuns in rigidly conservative and punitive religious schools, we are confronted by uncertainty. Like sister James we are caught in the middle.
The cast is strong. Stella Gonet is magnificent as Sister Aloysius, her mounting obsession and rage are compelling. It is not easy to sympathize with her character, but is she right? Father Flynn, played with charm and warmth by Jonathan Chambers is much easier to like, but does this make him easier to believe? Flynn keeps us guessing, although he is quick to anger and is thrown off balance by Sister Aloysius’ actions. Chambers makes us want him to be good. Sister James is sweet and wants to teach her class with love and kindness. Clare Latham is touching in the role, dealing with the dilemma of trying to conform to Sister Aloysius’ idea of what a teacher should be and with her distress over the possibility of Father Flynn’s guilt. She does come to a decision about his actions, and we feel her gentle certainty. Jo Martin is not on stage for long as Mrs Muller, but she makes a real impact. Her portrayal of a strong, concerned mother, who worries for her son and becomes furious with Sister Aloysius gave us a real, rounded character in a short time. When she went off stage the audience broke into spontaneous applause.
As we left the theatre after the standing ovation, the air was buzzing with speculation … Did he do it, or didn’t he … ?
Reviewed by Katre
Photography by Paul Nicholas Dyke
DOUBT, A PARABLE
is at the Southwark Playhouse until 30th September
This story of a thirteen year old witch who has to leave home, accompanied only by her cat, to find a new town where she can be useful, is utterly enchanting. Kiki is played by Jennifer Leong, who is completely believable as an enthusiastic and not always competent young teenage witch. Her companion is Jiji the cat, a deceptively simple puppet brought to life by the skill of Thomas Gilbey. Although the puppet is much smaller than Gilbey we forget that Jiji is not real because he is given such personality through subtlety of movement and voice. Gilbey meows beautifully!
Kiki grows up a little during the play, finding her way through difficulties and excitement with the help of Charleen Qwaye’s Osono, a baker in the town. Qwaye’s warmth in this role is palpable and her patience and care for the young witch are touching. Apart from Leong, all the cast play multiple characters, and they do it with panache and an amazing ability to change both costume and character in seconds.
There are some deliciously camp moments such as Stevie Raine’s fashion designer really not liking Kiki’s dress, and a hilarious array of characters, including bitchy teens, a pompous mayor, an horrendous nephew and a florist with attitude. Matthew Durkan’s Tombo is a sweet boy who is fascinated by flying and who becomes Kiki’s firm friend. Tombo is instantly lovable and Durkan plays him with huge charm. Kiki’s parents, Kokiri and Okino, are played by Kanako Nakano and Stevie Raine. They are the background to Kiki’s adventure, reluctantly sending their daughter off on her new life. Nakano also plays the horrendous nephew with great glee. They are a hugely talented ensemble.
Kate Hewitt’s direction is pitch perfect and bold. She knits together puppetry, some great physical moments and seemingly dozens of characters with a lightness of touch that perfectly suits the story. She uses the space well, creating a believable world and allowing the actors to shine in all their roles. Robin Gulver, the movement and puppet director also deserves a mention here, as the results of his work are superb.
The framework for the action is the beautiful and adaptable set, designed by Simon Bejer. As soon as the audience walk into the theatre the atmosphere is established, with Japanese lanterns and a set that hints at a town, hills and a changeable yet stable landscape. Elliot Griggs’ lighting design is gorgeous and transforms the stage, creating a train, a rainy day and much more besides. The lighting interweaves with Max Peppenheim’s soundscape, making the world of the play vivid and alive. Add to this the simple and lovely video design by Andrzej Goulding and you have real magic.
The story was adapted from a novel by Eiko Kadono and is better known as a fantasy anime produced by Studio Ghibli. Kadono says that the story began when she saw a drawing by her daughter, showing a young witch on a broomstick, with a radio tied to it and music notes flying through the air. She looked at it and ‘all at once Kiki was born.’ I am very glad that her daughter drew the picture, because this play is a delight. Only the most deeply cynical could fail to be charmed by this joyful, innocent tale and there can’t have been any cynics in the clapping, whooping audience this evening! Go and see it. Take the kids. Take your granny. Go with your mates. Enjoy the enchantment one evening in Southwark.
