Michael Allen

Eclipse: Circumstances shake certainty

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By John Lyle Belden

Reminding us that current controversies have deep roots, Eclipse Productions of Bloomington presents the drama “Doubt: A Parable” by John Patrick Shanley, directed by Kate Weber.

Set in the 1960s, Catholic school principal Sister Aloysius (Ellen Snyder) hears a sermon by popular young pastor Father Flynn (Michael Allen) that increases her suspicions of serious and too-familiar misdeeds. A private conversation with 8th-grade teacher Sister James (Morgan McMillan) deepens her concern, and now the younger nun is also noticing things.

Like a silent jury, we hear the Sisters mull over evidence of… what? They hardly dare to consider that which, if not investigated, would be betraying the students’ trust and innocence. We also get glimpses of the priest; what we see unsettles rather than resolves. Inevitable confrontation delivers no clarity, especially as the principal’s own beliefs and biases are brought into the discussion.

Important but unseen is a young black student at the center of the issue. His mother (Minka Wiltz) arrives to fiercely deliver her perspective, deepening both the stakes and context.

Issues of race relations, “Vatican II” reforms, and Church structure and bureaucracy factor here. To a degree, they echo today while members of all denominations, both past and present, still wrestle with accusations, speculation, and evidence of crimes – destroying lives and shaking congregations.

Allen gives Flynn charming charisma, making him both believable and highly suspicious, depending on your own perspective. Snyder’s Aloysius is the kind of (literally) old-school nun parents respect and children fear – and she likes it that way. McMillan’s James reflects the newer attitudes, leading with compassion, though it’s possible she’s too credulous.

In a more secular setting, you could find yourself on an actual jury, sorting through the circumstantial evidence. This play is notable for its conversation-starting, thought-provoking nature. We highly recommend this exercise in judgement, Eclipse’s arena to wrestle with “Doubt.”

Opening with the most cleverly appropriate curtain speech (kudos to Jeremy Weber’s solemn delivery), performances continue Friday through Sunday, July 30-Aug. 2, at the Waldron Firebay (first floor of Waldron Arts) 122 S. Walnut St., Bloomington. Get info and tickets at eclipseproductionscompany.com.

Enter the haunted trap of ‘Veronica’s Room’

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By John Lyle Belden

Eclipse Productions* of Bloomington adds to the October chill with its production of “Veronica’s Room.”

The 1973 play is by Ira Levin, author of “Rosemary’s Baby” and “The Stepford Wives,” which should alert you to the caliber of psychological thriller we are dealing with. To set that mood, the audience walks in through the stage area of the Rose Firebay Theater in the Waldron Arts Center and are seated in the titular room throughout the play. Try to ignore the phantoms.

Soon arriving are Susan (Mandy Scamacca) and Larry (Michael Allen), a young couple invited by John (Ronnie Johnstone) and Maureen (Becky Stapf), caretakers of this old house. The Girl is asked to help comfort the home’s aging resident by pretending to be her long-dead sister, Veronica. They note that Cissie, who is dying, has mentally slipped back to 1935 and needs reassurance that her sister has forgiven her for past events.

Reluctant at first, Susan agrees to take on the role, including changing into Veronica’s clothes. After The Woman briefs her on details including the younger brother Conrad and their physician, Dr. Simpson, she is left alone to prepare for the next scene.

She is not ready for what happens next.

I dare not spoil anything further, as the plot twists around shifting identities and altered reality – like a story by Phillip K. Dick in the style of Shirley Jackson. Director Kate Weber leans into this sense of fractured perspective with touches including the unspeaking hooded guides at the show’s beginning, wall cut-aways allowing us to see into the hall outside the room, and the spooky soundscape – designed by Joshua Lane – with constant low moans and creaks. Terrible past events haunt this space; as we come to understand them, note that this is for mature audiences (content includes various forms of abuse, as well as gaslighting and murder).

Performances explore the complexity of the characters’ identities while the flexible nature of stagecraft in presenting any time and place gives us little certainty. Is Susan pretending to be Veronica, or did Veronica dream up Susan? Scamacca effectively personifies the struggle. Our printed program is of no help – she is listed as “The Girl.”

Likewise, Allen is “The Young Man,” a little standoffish and hard to fathom from the start. Johnstone, “The Man,” masterfully drops clues that only add up in the end. Stapf, “The Woman,” gives a powerhouse performance that stuns with every disturbing twist.

For our Indianapolis readers, this play is well worth the drive down to Bloomington. Eclipse’s immersive approach to theatre really pays off. Remaining performances of “Veronica’s Room” are Oct. 24-26 at 122 S. Walnut St. Get info and tickets at eclipseproductionscompany.com.

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(*No relation to the “Eclipse” professional theatre program of Summer Stock Stage in Indianapolis.)