Without a doubt, IRT launches riveting psychological drama

There are those who criticize Indiana Repertory Theatre for being too steeped in standards and proven box-office hits, and yet the IRT has been known to take a chance on a provocative drama, such as its new production of "Doubt."

Set at a parochial school in the Bronx in 1964, John Patrick Shanley's taut psychological drama quickly gets embroiled in some of the changes that were then taking place both in the Catholic Church and in the civil rights movement in this country.

Winner of the 2005 Pulitzer Prize for drama, "Doubt" ostensibly concerns itself with a power struggle between a controlling nun and an ambitious priest. Under the direction of its resident playwright, James Still, IRT's compelling, fast-paced rendition also exposes many layers beneath that conflict -- as well as the frightening possibilities of what can happen when someone acts purely on suspicion.

IRT clearly programmed "Doubt" as a vehicle for Priscilla Lindsay, a veteran of more than 30 seasons at the theater. Lindsay has created a searing portrait of Sister Aloysius, an old-guard school principal who accuses a post-Vatican II priest of molesting a 12-year-old boy. Lindsay's Sister Aloysius is brittle, self-righteous, uncompromising and ultimately quite tragic.

"Where is your compassion?" intones Lenny Von Dohlen, who plays Father Flynn, the accused priest, when trapped in conversation with Sister Aloysius in the throes of her witchhunt. "Where no one can get at it," spits Lindsay's good Sister.

With such a strong lead, one choice might have been to cast the others in this four-character drama as being totally subservient to the principal. But Still manages to set off a new fireworks display over the development of each character.

Von Dohlen, who may be familiar to some from the film "Tender Mercies," cuts a tall, powerful figure as Flynn, and he won't capitulate to the Sister's stubbornness. In fact, he tries to protect the troubled black child he is accused of molesting, and even after revealing a mistake the boy made, the priest refuses to compromise his principles or his open style.

As Sister James, who is caught between a priest she admires and a principal she fears, Cora Vander Broek rightly strikes a balance between struggling to obey someone she has no faith in, and standing up for herself. Dwandra Nickole has a relatively brief time on stage to shape the evolution of Mrs. Muller, the boy's mother, but it's long enough for the demure, deferential character to muster enough strength to refuse to be a pawn in somebody else's battle.

Ann Sheffield's design elements are somber. Except for when Father Flynn is saying Mass, costumes are generally in blacks or browns. Just outside the window of the principal's office is a stand of leafless trees. It all symbolizes doubt, with its maddening shades of gray.