"I remember the name “John Patrick Shanley” as the writer of the Oscar-wining 1988 film, “Moonstruck.” I wasn’t as fond of it as most people, so when I saw that Shanley was the writer of a Pulitzer- and Tony-award-winning play called Doubt: A Parable, enjoying a sold-out run at the Cell Theater, I said to myself, “Well, maybe that’s why; maybe Shanley is actually more of a playwright than a screenwriter.”

But it turns out that Shanley has in fact had little recognition as a playwright, for his nearly 30 plays written in the past couple of decades. That is, until he wrote Doubt.

Twisted logic aside, seeing FUSION Theater Company’s production of Doubt is one of those peak theater experiences where a brilliantly crafted and engaging work is executed by an essentially perfect cast of wonderfully skilled actors, beautifully directed.

The setting is a parochial school in the 1960s, long before the priestly molestation scandals exploded publicly -- but obviously not before the activity was in progress. A scandal is brewing at St. Nicholas Church School. But is it really? Is the handsome father Flynn having his way with a particularly vulnerable young student, or is the highly analytical and controlling Sister Aloysius simply letting her imagination and her own bitterness run wild?

Hmmm it’s not real clear, and this fine line of Doubt keeps the audience engaged and in suspense as much as even the best murder mystery might do – perhaps even more so. What’s at stake here is reputation, a child’s life, and reality itself.

Ross Kelly plays the earnest, attractive and appealing Father Flynn. Appealing, that is, to everyone but the suspicious Sister Aloysius, played with razor-keen intensity by Laurie Thomas. The sincere Sister James (Rachel Tatum) doesn’t know quite what to believe, and just wishes all the turmoil and confusion would go away. “You would trade anything for a warm look,” Sister Aloysius admonishes her. Ouch!

In the middle of all this the child’s mother, Mrs. Muller, visits the school for a conference with Sister Aloysius, who as always has an agenda which reveals itself only after a snakelike few minutes of intense coiling before the strike. But Mrs. Muller, a flawless Angela Littleton, has a few surprises herself hidden under her at-first-compliant veneer, and the struggle and maneuvering between these two powerful, determined women is breathtaking.

It’s also on a strangely different note from the rest of the play, and it was interesting to read that this scene was actually the initial inspiration, the original vision, from which Shanley wrote the rest of Doubt.

FUSION is an Equity theater company, a professional designation which unfortunately carries with it a relatively high admission price, but for those who are able, Doubt is a powerful and unforgettable performance. Extra performances may be added to accommodate the tremendous response to this production; call the Cell Theater at 766-9412 or visit FusionAbq.org for ticket information."
Jim Terr, review, KUNM-FM 89.9

click to view YouTube production slideshow
photos © Richard K. Hogle

"On a public television biography that aired last week, Charles Schultz admitted to milking a lot of humor from straight-up violence. From a 21st century perspective, it might be odd to think of “Peanuts” as violent, but it was, of course. Schultz hurt his characters. We laughed. A simple, infallible equation that worked almost every time.

The FUISON Theatre Company is staging the New Mexico premiere of Martin McDonagh’s The Lieutenant of Inishmore at the Cell Theatre. It doesn’t take a genius to figure out why this play is so successful. Drenched from top to bottom in comedic, stylized violence, it fits in perfectly with the tone of the times. This play might be smarter (it’s certainly funnier) than “South Park,” but it’s powered by a sense of humor that’s similarly crude, demeaning and sadistic. Since all the characters speak with an Irish accent, and the story revolves around terrorism, we can call it art. Plus, you have to have some admiration for a playwright who can make brutality toward animals, of all things, so hilarious. Yet, you still may wonder how we can laugh out loud at all this cruelty and gore.

Thankfully, the play doesn’t require that kind of reflection. Donny (William Sterchi) and Davey (Justin Lenderking) have a dead cat on their hands, Davey having found the poor animal with its brains knocked out in the middle of the road. Unfortunately, the cat, named Wee Thomas, belongs to a psychopath named Padraic (Ross Kelly), who’s a second lieutenant in the INLA, a splinter group of the Irish Republican Army. Donny was supposed to look after Wee Thomas while Padraic was away. When Padraic finds out his cat was murdered, it sets off a chain of violence that’s shocking to behold.

Well, it would’ve been shocking about 30 years ago, before this kind of cartoon bloodbath became commonplace in mass culture. But even if it isn’t shocking, it is extremely funny—and what an amazing cast. You won’t find a better ensemble on stage in Albuquerque. It’s such a pleasure to see how they feed off each other. The violence—both verbal and literal—is performed like music, players exchanging riffs so sharp and dangerous they leave the walls, floors, ceiling and furniture splattered with blood.

Sterchi often plays the heavy in this kind of production, and he’s very good at it. Here, he plays a goofy character, and he’s very good at that, too. One of the best around, Sterchi’s presence usually means a show is going to be excellent, and that’s true this time.

Kelly’s lethal mix of pretty boy looks and serious acting chops is an enjoyable combo. In this play, he’s a charismatic cartoon psycho, switching between caring tenderness and appalling brutality with ease. I’ve seen a lot of Lenderking around town in the last year or so, and his real strength is his eccentricity. No matter what character he plays, his presentation is appealingly weird. In this case, seeing this big, hulking dude play a vaguely effeminate sissy is a freaky good time.

The actors playing lesser roles are all very good, too. The best performance in the show, though, might be Steve Tolin’s, whose amazing special effects result in some truly eye-popping gore.

The Lieutenant of Inishmore isn’t deep or insightful or thoughtful in any way, but it is good, dirty fun. Besides, at this point, most of us realize the war on terrorism has become a joke, so we might as well get in a few good laughs at its expense. As Schultz said, violence, especially the senseless kind, is naturally funny, and what’s more senselessly violent than terrorism? McDonagh’s play isn’t realistic, and it won’t hit too close to home, so sit back, enjoy the barbarism and appreciate the fact that violence in the real world isn’t nearly this agreeable."