How the Theme of Doubt is developed in Shanley's Play (Essay Sample)

How the Theme of Doubt is developed in Shanley’s Play
A play is truly compelling if it is perceived as even better on subsequent viewing. In the play “Doubt: A Parable” by John Patrick Shanley, the playwright ensures that his audience connects it with real life and will want to see the play repeatedly. Many reviewers have praised the play. “A transfer from the off Broadway to Broadway is an important much as it seems a risk move” (Von Wormer and Berns). This is because a new and larger venue may cause the effect of the intense affection and interest. That, however, has not happened with Shanley’s play. The play has continually remained relevant decades down the line and reveals the tussles that were experienced in the Catholic Church. The pity of all seems to increase as time passes. One may best describe the dram as an inspired study of moral uncertainty that features a compelling structure of the old-detective drama (Von Wormer and Berns). As the play holds the audience attention in being an intelligently structured debate, Shanley sends off furtiveness charges, which are highly emotional, but reveals the complexity of the association between certainty and uncertainty in life. 
The setting of the play is in a Bronx catholic school in 1964. Memories of the assassination of John F. Kennedy are fresh amongst the people. Sister Aloysius heads the school and oversees many teachers among them the young Sister James. Aloysius doubts the deeds of Father Flynn, a priest who also coaches basketball and attends the spiritual needs of children and families in the school (Kandra). She believes that Father Flynn has a questionable relationship with the first black student in the school called Donald Muller. Notably though, the religious hierarch restricts Aloysius from confronting Flynn, she can only deal with the situation from a distance (Von Wormer and Berns). Shanley focuses on several issues evident in all characters. For instance, Sister Aloysius has little authority over men, which is an aspect of feminism. Donald Muller is the only black in a school of Italians and Irish kinds, which is an aspect of feminism. The subject of moral obligation is also evident. The playwright questions one’s moral obligation when they are sure of a wrongdoing perpetuated by their seniors. 
A review of Shanley’s “Doubt” reveals that he focused largely on examining the complex association between uncertainty and certainty. He seeks to illustrate the possibilities of both extremes being destructive. Shanley shows that extreme certainty could easily lead to suffering of individuals whereas too much uncertainty can easily deceive an individual to abuse or even neglect other people (Kandra). Kelly demonstrates his points by comparing and contrasting the apparently contradicting sides and perceptions of Father Flynn and Sister Aloysius. The playwright suggests that Sister James serves as a sympathizing audience while acting as a surrogate between the two militaristic extremes. He suggests that Sister James ought to trigger the balance of sanity between the two ends. This is clear because James is converted back and forth between Father Flynn and Sister Aloysius’ certainties throughout the play (Shugar and Bellon). Often, a third party suffers when two others hold and cling to contradicting extremes in real life. In fact, the audience does not find the case easy to resolve. 
Shanley’s, from the reflection of the symbolic implications of the ecclesiastical location of the play, concludes that James’s trip to the outside world brings the desirable balance of uncertainty and certainty to her perspective. This helps James to desist from taking sides between Flynn and Aloysius. An important lesson from the response of Sister James is that one may largely find a healthy balance between agnosticism and dogmatism if they review their relationship with the rest of the world (Jordan and Foster). The playwright deals with the awful number of complicated issues mentioned in preceding paragraph systematically. He does not release them awkwardly to confuse he audience. Rather, the issues are revealed in a natural and organic manner. Deriving evidence from the play, the playwright perceives the church as exhibiting firm hierarchical structure that the clergy respected. The nun could not speak even when she sensed something fifthly because her senior perpetuated it. Notably though, seniors could do anything and no one would question at the time of writing the play. 
The audience realizes the race of Muller as an African-American child five scenes into the play. That is the same time the audience realizes Sister Aloysius suspicion that Father Flynn could have been molesting Muller. This is exposed in her dialogue with Sister James. “The little sheep lagging behind is the one the wolf goes for” (Shugar and Bellon). Here, Aloysius refers to Muller as the only African-American student and reveals her concern that the boy could be exposed to some danger. In response to Sister James seemingly ignorant statement, she adds, “Our first Negro student. I thought there would be fighting, a parent or two to deal with… I should have foreseen this possibility” (Shugar and Bellon). The plot development revealing the issue of race and molestation at the same time is strategic. Molestation came from the clergy and the victim is an African-American. The church is depicted as not cleansed regarding oppression and victimization on racial grounds, which on a broader picture reveals that racism persisted within institutions. 
With the dialog and words of Sister Aloysius, the playwright gives the audience the exposition on the quality of people of all races without melodramatic monologue. Notably, the playwright respects the audience to the realization that they will comprehend his theme. Among other maudlin ways, the playwright could achieve the same with the following. “Can you believe that Father Flynn abuses and molests our only African-American student around? Have Africans not undergone just enough to let them free? They were in slavery for hundreds of years and now some people want to subject them to other years of institutionalized slavery” (Kandra). Rather, Shanley ensures graceful exposition, which gives his audience realistic scenes. In scene eight, the dialog with Mrs. Muller earns the extremes of the situation. That is achieved in the situation rather than in the tone of Sister Aloysius. 
The play, “Doubt: A Parable” unfolds as constituted of several series of dialogs that are punctuated by two main monologues. These are the sermons delivered by Flynn on subjects of gossip and doubt. Father Flynn seeks to keep with his ideologies of giving the church a familiar face, which seems to personalize all things (Davis). Notably, one may not question how self-revealing and self-incriminating the sermons seem. This annoys Sister Aloysius who clinches to a belief that nuns and priests ought to be coolly vigilant. They must not be warmly engaged. Her conversation with Sister James reveals epigrammatic starch of conceptions acquired over the long period she has been in service. For instance, she says, “satisfaction is a vice and innocence can only be considered wisdom in a world without evil” (Kandra). She believes that stepping forward to address a wrongdoing is equivalent to moving away from God although in his service. With this, the playwright sets stage for the audience to understand Sister Aloysius’s differences with Father Flynn, which translates to the tussles within among the clergy.
The play reveals that the clergy used authority to blackmail subjects such as Mrs. Muller. She seems reluctant when Sister Aloysius reports her suspicion. This could have been the norm in the society as observed by the playwright in the 60s. With the belief that one is still in God’s service even when they seem to move away by addressing wrongdoings, Sister Aloysius gains the confidence to engage in heated confrontations with Father Flynn. She also has the guts to confront Mrs. Muller, the mother of the ten-year-old Donald Muller. Surprisingly, the Father has befriended Mrs. Muller making it difficult for her to support Sister Aloysius. “I don’t know that you and I are on the same side” (Davis) is the statement that reveals Sister Aloysius’s doubts. The playwright depicts women as easily swayed and deceived to trust the wrong people. They may even disregard observations of other women because of adopted social perceptions against themselves (Jordan and Foster). Nonetheless, Muller is the only African-American student in the school. Such opportunities were scarce and the mother may have seen it as a privilege. Many dark skinned students suffered racism during the 60, the time of writing the play (Von Wormer and Berns). 
Playwright Shanley does not show biasness in his play. Rather, he lets the audience to decide and support a side of their choice. This is with the focus to pass the message that there are always several possibilities to every case of suspicion. With that, Shanley drives his main theme of doubt in the play. Notably though, one may think that the playwright supports and agrees with Father Flynn in explaining reasons for his regard for parables over realism. “The truth makes for a bad sermon. It tends to confuse and seldom have a clear conclusion.” However, the playwright presents the various perspectives and perceptions with eloquence and reasonableness that seems to comply with the characters ecumenical backgrounds. The play, therefore, is consistent with its title and reveals the role played by doubt in our lives. 
The cushioning effect of power and authority, precisely in the Catholic Church, is demonstrated in the play. The playwright reveals his motives in the dedication the play is dedicated to nuns who volunteer, but are ridiculed and maligned. In that spirit, Sister Aloysius is portrayed as harsh and ultimately cares about the students. She has served as sexual predator detector previously and caused the removal of an abusive priest from priesthood. Sister Aloysius seems disturbed because she has no formal method of handling Father Flynn case (Davis). Flynn, different from Aloysius, seems moderate in beliefs about tradition and discipline. For instance, Flynn entertains the notion of embracing modern culture in the church, an idea sternly refuted by Aloysius who disapproves secular Christmas songs (Jordan and Foster). Nonetheless, she confronts the father and lies that she heard about similar incidents from other nuns. Flynn, threatened, resigns to seek promotion elsewhere as a pastor. His success in obtaining promotion translates to male domination. He still remains in service even with assault allegations.
Father Flynn explains that the boy was caught taking the alter wine when questioned about the matter. He, however, would not reveal the matter to any third party on condition that the boy would never repeat it. In addition, he would not punish Muller if no other person realized the incidence. This response satisfies Sister James, depicted as new and naïve, but Sister Aloysius still doubts it. Flynn becomes highly emotional when told that other nuns have made convicting statements against him. Some of his statements imply a feeling of shame and guilt. “There are things I cannot say and I have not done anything wrong” (Sister). Clearly, the play gives the audience the liberty to determine innocence or guilt depending on their evaluation. Differences in response demonstrated by the two nuns reveals the two sides different people may take on a common controversy. Some may be satisfied, often from naivety, whereas others still doubt with different reasons. 
In summary, John Patrick Shanley seeks to make his audience to realize that human beliefs and convictions are largely a faced created to protect self. Humans often opt to believe in one or a myriad of things. For instance, one may believe in their guilty, innocence, collective social morality, or even the church sanctity. Notably, the play relies heavily on the social alignment that existed in the 60s when it was written. The concept of molestation in schools on racial grounds is well articulated and used for plot development. This arouses the concerns of Aloysius who has no channel to address or express her fears. She remains in doubt much as she seems conscious of her moral obligations. Importantly, the play does not make a conclusion for the audience. Rather, it leaves them in doubt whether the Flynn is guilty or innocent.
Works Cited
Jordan, J., and M. Foster."Growing Up African American in Catholic Schools." Teachers College Press (1996): 208. Harvard Educational Review.Web. 15 July 2015. <http://hepg.org/her-home/issues/harvard-educational-review-volume-67-issue- 1/herbooknote/growing-up-african-american-in-catholic-schools_21>.
Shugar, S., and L. Bellon. Exploring John Patrick Shanley’s Doubt, a Parable. Centaur’s Theatre of Tomorrow, 2008. Web. 15 July 2015. <http://centaurtheatre.com/downloads/John Patrick Shanley's Doubt -- Theatre of Tomorrow Workbook.pdf>.
Davis, J. Doubt: A Parable. Chicago Critic. 8 May 2015. Web. 14 July 2015. <http://chicagocritic.com/doubt-a-parable/>.
Sister, J. Doubt the Movie Discussion. A Nun's Life Ministry, 8 Jan. 2009. Web. 15 July 2015. <http://anunslife.org/blog/nun-talk/doubt-the-movie-discussion>.
Kandra, G. "Nun Were Better: Remembering the Sisters of the '60s." The Deacon's Bench. 7 Mar. 2008. Web. 14 July 2015. <http://www.beliefnet.com/columnists/deaconsbench/2008/03/nun-were-better- remembering-the-sisters-of-the-60s.html>.
Von Wormer, K., and L. Berns. "The Impact of Priest Sexual Abuse: Female Survivors’ Narratives." University of Northern Iowa, 2004.Web. 2015. <http://www.uni.edu/vanworme/articles/priest.pdf>.