Review: Moral dilemmas make this a must-see production in Leamington Spa
Father Flynn [Michael Barker] is an empathetic priest, whose sermons, with humour and anecdotes, resonate with the congregation, and his teaching and basketball coaching at St Nicholas School is popular with the boys.
However his style grates with old-style Sister Aloysius [Sue Moore], a curmudgeon burdened by the weight of responsibility as principal and Mother Superior. This clash of cultures and approach to the students is clearly going to lead to conflict but it is not this that primarily leads to the struggles within the play.
Review: Doubt: A Parable
Performed at The Loft Theatre, Friday, 26th February, 2026 [until 7th March].
Director: Chris Gilbey-Smith
Moral dilemmas make this a must-see production
Michael imbues his character with warmth and gentleness, endearing the audience with his caring nature. He charms, in a purely platonic way, young Sister James [Anna Butcher].
Sue gives Aloysius an authentic austerity, yet she drops in some dry humour with superb timing. This tight script builds the tension through the two different characters and their sparring, which becomes increasingly pugnacious.
Aloysius uses her authority to get Sister James to act as her stooge. Aloysius is convinced Flynn is guilty over his possible relationship with 12 year old Donald Muller, the only African-American boy in the school.
Donald is never seen, so we never hear his version of events. Rather there are dogged accusations and robust denials between Aloysius and Flynn. The audience’s sympathies waiver back and forth with the sharp dialogue.
Alyosius meets Donald’s mother [Nadine Batchelor-Hunt] to recruit her support. Nadine gives a brilliant depiction of Mrs Muller, with her initial passivity and deference in the face of Aloysius’ authority, but increasing abrasiveness in her portrayal of a parent who lives in a world where choosing the least-worse option is a regular occurrence.
Although set in 1964, the issues raised were very 2026: abuse of power, whistleblowing, complainants being disbelieved, ignored or persecuted, employees about whom there are serious concerns being transferred to become someone else’s problem.
This cast of four deserves top marks for delivering great performances over 100 minutes without a break, as an interval would have interrupted the growing momentum.
Set designer Richard Moore’s staging was simple yet effective with a wonderful stain glass window suspended high above the stage, and part of the stage being a gently sloping giant crucifix surrounded by fair lights that the cast ascends and descends.
A bare tree in the garden and an unseen persistent crow highlight the increasingly unsettling events. This must-see production achieves more with no swearing or violence than many supposedly worthy plays.
Tickets from lofttheatrecompany.com