It's unfortunate that John Patrick Shanley's powerful drama is still as fresh as today's headlines. The play itself is set in the early years of Vatican II in a Catholic school and church in the Bronx. Most of the action happens in the school, which is ruled (with an iron fist) by the elderly Sister Aloysius. She considers herself a "fierce moral guardian" of the students who attend St. Nicholas. Her teaching style seems terribly outmoded when viewed by today's standards, yet she persists in maintaining the ways she has practiced through the years. This sometimes reaches laughable proportions, such as when she howls "subversion!" at the innocent suggestion of adding a secular child's song, "Frosty the Snowman," to the school's annual Christmas production. Sister Aloysius is ruled by a certainty that needs no facts to support it. She has been suspicious of Father Flynn ever since he was transferred to St. Nicholas. She watches everything taking note of the length of his fingernails as well as other minor details and pounces when she feels the time is right. She enlists the help of a young, idealistic teacher, Sister James, to her cause. Sister James unwittingly fuels the cause by noting that a young black student has attracted Father Flynn's attention. This is all Sister Aloysius needs to start a crusade that will not end until Father Flynn leaves St. Nicholas for good. When she finally confronts Father Flynn with her suspicions, he has a plausible alibi for his actions. However, that does not deter Sister Aloysius from her quest.
As two opposing forces, Brian Vaughn (Father Flynn) and Laura Gordon (Sister Aloysius) energize their characters with an almost electric force. Vaughn, as the loving, progressive teacher, is much easier to like than the strident Laura Gordon. Sister Aloysius seems sadly out of touch with the times, and one tends to agree when Father Flynn claims privately that she is "holding the school back."
Shanley explores all sorts of social themes through these two characters, including the unequal roles of men and women in the Catholic Church. Sister Aloysius concedes to Sister James that her claims will likely be brushed off by her male superiors. Still, she persists with bulldog-like persistence, even when the demure Sister James (Marybeth Gordon) backs off from the chase.
A brief but memorable appearance by the boy's mother (Nora Cole) puts yet another spin on the circumstances. She pleads with Sister Aloysius to "let the matter go" until June, when her son graduates. The mother has clearly dealt with enough hardship in her own life to give her plenty of backbone when dealing with Sister Aloysius.
The play's ending probably fails to answer the question of the Father's guilt or innocence. All we know for sure is that it is the young boy eventually deprived of his friendship with Father Flynn suffers in the end.
The play is cleverly staged on a simple, intimate set that focuses the audience's attention on the characters. It is attractive and effective, without being overly showy.
