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, by John Patrick Shanley
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Product details
File Size: 148 KB
Print Length: 73 pages
Publisher: Theatre Communications Group; Media tie-in edition (December 1, 2008)
Publication Date: December 1, 2008
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B003Z9JMNO
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I saw "Doubt" this weekend down in the Twin Cities. While you are more likely to see a national touring company of a Tony Award winning musical, such as "The Light in the Piazza" (which we will see in a couple of weeks), Tony Award winning dramas do make it out to the hinterlands from time to time. What was rare was that the cast was headed by Cherry Jones, who won her second Tony Award for originating the role of Sister Aloysius on Broadway. Usually you have to go to New York City to see the stars in the show (or maybe Los Angeles, which is where I saw Michael Crawford do "Phantom"), so this was a real treat. The draw might have been an award-winning actress, but by the end of the performance the star is John Patrick Shanley's Pulitzer Prize winning play."Doubt: A Parable" is set in a parochial school in the Bronx in the Autumn of 1964 and begins with a homily by Father Flynn that questions the role of doubt in the modern world and sets the stage for the drama. The priest asks the audience, "What do you do when you're not sure?" Then Sister Aloysius, the principal of the school, has a meeting in her office with young Sister James, who is warned about being too passionate about teaching history to her students in general and in particular not to turn FDR into a secular saint. Sister Aloysius is not a sympathetic figure, especially given that our introduction to the nun is to watch her crush the joy of teaching out of a young teacher. However, then she makes Sister James aware that she has concerns for a new student, Donald Mueller, the school's first black child. Her concern is not because of the boy's race, but because she suspects Flynn has been "interfering" with the boy.Distance makes it difficult to remember the times, but an undercurrent of the play is how Sister Aloysius is strictly old school while Father Flynn has embraced the directives of the Second Vatican Council to make the clergy more accessible to their parish and become like "members of their family." Shanley does not get into deep theological issues but finds a telling point of contention in Sister Aloysius' dismissal of the song "Frosty the Snowman" as an example of paganism. Yet despite our lack of agreement with her strict conservatism, it is impossible not to be concerned about Sister Aloysisus' suspicions regarding the charismatic young priest who likes his fingernails to be slightly long.I have a background in competitive debate so one of the things I appreciated in Shanley's drama is how he balances the two sides to create the requisite titular state. When I was dissecting the play with my wife on the way home from the theater I discovered that while I (male Italian raised Lutheran) was looking at the play from the assumption of the priest's innocence, she (female Irish raised Catholic) was assuming he was guilty. Of course the play works both ways, but certainly there have been more than enough headlines about stories of abuse in the Catholic Church in the past decade to make it easier for the play's audience to jump to the same conclusion as Sister Aloysius.Coming to a decision as to the "truth" of what happened between Father Flynn and the young boy is a question of when you decide to place your bet on who to believe. Sister Aloysius begins the play with her suspicions and moves towards certainty on her own timetable. Sister James serves as a warning not to decide too early, but Shanley clearly wants us to come to our own decisions before the drama's "resolution." Waiting until you are sure is to repeat Hamlet's tragic error, which is not to say that Sister Aloysius is the Dane's opposite because she is not guilty of the proverbial rush to judgment. The term "reasonable doubt" is never used in the play, but it certainly comes into play as the nun commits to certainty in advance of having absolute proof, mainly because being denied such proof cannot, in her mind at least, preclude action. Sister Aloysius wants to know what really happened between Father Flynn and Donald, even if the boy's mother is willing to turn a blind eye.For me the point at which Sister Aloysius becomes heroic is when Father Flynn threatens her for her refusal to follow Church protocols. He seeks to convince her that she has no choice, because failure to obey would basically send her to Hell for disobedience. But she sees herself in the same danger if she falls to do what she can to save one of her children, and in her decision to damn herself for the right reason and his decision to coerce rather than persuade is where my doubts were erased. For me the most delicious irony is the way Sister Aloysius' crucial phone call mirrors Father Flynn's point earlier in the play about the value of true stories. The final line of the play is also dripping with irony in a very conscious effort by Shanley to leave his audience exactly as he wants them to be.
Are there times in the course of human endeavors where the end justifies the means? Are there times when mere suspicion is sufficient to take up arms against a potential threat? Suppose the potential victim is a child and the suspected predator is a person of power. Suppose the suspect is your superior? Suppose you are a nun and he is a priest. Do you act to stop him without proof? How much proof of harm, potential harm, do you need? Does the way the priest looks at the boy provide sufficient reason for a nun to interfere? Suppose the evidence of that "look" came to the nun second hand. Then what? What should the nun do?The nun is Sister Aloysius, a worldly older nun. A disciplinarian. A traditionalist. She's wary of the young parish priest, Father Flynn, who makes up interesting parables that teach and inspire. Sister Aloysius is also uncomfortable with the fact that Father Flynn seems to enjoy playing basketball with the boys just a little too much. She's uncomfortable with the fact that the boys like rather than fear Father Flynn. In short, Sister Aloysius has doubts. She has doubts, serious doubts about Father Flynn. She decides.....No, she is compelled, compelled by doubt, serious doubt...compelled to act. Damn the facts! Damn the consequences! In the pursuit of wrongdoing, a nun has to do what a nun has to do. If the destuction of a man's reputation is the price to assure the safety of a child, then no doubt that's the way it has to be...Right?
It feels very real, almost compelling. It was my first read of Shane's plays. It led me to what I consider to be a masterpiece; Outside Mullingar
Great item!
Amazing play
I was required to read this play for a college class, and I have to say I was pleasantly surprised by it! The play is short, about 60 pages, but it is very thought provoking. The characters are well developed, and the plot has you jumping back and forth between sides as you second-guess who is innocent and who is guilty. In the end, the only thing that is certain is your doubt. I hope to someday see it in the theater!
For centuries people have doubted religion and its workers, with good reason, as this play demonstrates. Shanley uses the powerful tool of insinuation to bring about the feeling that could cripple entire kingdoms: doubt. This play doesn't question the relevance or wisdom of religion. Rather, it tells a story that makes you question the motives and ethics of the people you at meant to trust the most.
This play is great because it talks about many issues, otherwise considered a taboo. Also the ending is usually the case, with this type of situation. Read to find out!
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