G
Genesian
Guest
As a proud Catholic, and an actor, I would say that the play certainly does not portray the Catholic Church in a bad light. In fact, the Pulitzer Prize-winning play is dedicated to “the many orders of Catholic nuns who have devoted their lives to serving others in hospitals, schools and retirement homes. Though they have been much maligned and ridiculed, who among us has been so generous?” Hardly a condemnation. The principle conflict of the play is not that a priest has or hasn’t molested a young boy, but rather that if he has, a person who is invested his well-being (Sr. Aloysius, the principal), has no recourse to investigate the matter. All her jurisdiction allows her to do is go to the pastor, and if the pastor does not suspect, the issue ends there, whether or not the boy has indeed been abused. The Church has thankfully moved on from that strictly hierarchical model, and that is the point of the play. It’s about how when people trust too strongly in a system, predators are able to come in and exploit the innocent. Another theme is how doubt itself is not the opposite of faith, it’s part of it.
As a piece of literature, it’s beautiful, and as a piece of theatre, it’s dynamic and compelling. I haven’t yet seen the film, and in my experience playwrights aren’t that great as filmmakers, so the film may suffer.
As a piece of literature, it’s beautiful, and as a piece of theatre, it’s dynamic and compelling. I haven’t yet seen the film, and in my experience playwrights aren’t that great as filmmakers, so the film may suffer.
