“Doubt” can produce several similar congenial feelings such as uncertainty, suspicion, uneasiness, apprehension, distrust and confusion. Usually there is a situation or event that occurs that may be the cause, or possibly misinformation that may initiate speculation and accusation. The striking Broadway revival of John Patrick Shanley’s riveting drama, rightfully titled “Doubt,” now playing at the newly named Todd Haimes Theatre, is the epitome of the definition on many levels. In an article by Travis M. Dickinson, the author puts forth the complications between “intellectual” and “emotional” doubt. Evidence matters in intellectual doubt, and we have an internal conflict between competing ideas, beliefs and reasons, while emotional doubt does not abide by the rules of logic and rationality. This differentiation may also be considered a major theme that Mr. Shanley uses ever so cleverly and tactfully, in this ninety-minute, intermission less powerful play.

Sister Aloysius Beauvier (a stark and stoic Amy Ryan) is principal of the school at St. Nicholas Catholic Church in the Bronx, New York, where Father Brendan Flynn (a complex, enigmatic Liev Schreiber), is serving as a priest at the church. After hearing of a particular incident involving the priest and a student, Sister Aloysius calls the student’s teacher, Sister James (a young, caring, brave, Zoe Kazan), to her office to dig for information. Sister James reveals that the student was called to the rectory by Father Flynn for a private meeting and when he returned to the classroom, he apparently was lethargic and had the smell of alcohol on his breath. This of course reinforces Sister Aloysius’ suspicions about Father Flynn’s behavior and leads to her confronting him with her prime witness present.

Flynn proffers a very reasonable and intelligent explanation: the sexton caught the student who was an altar boy, drinking church wine, reported it to the priest, and Father Flynn had a private meeting with the boy in the rectory in hopes of keeping the situation quiet so the child would not have to be removed from his duties serving mass. What also had weighed in on the priest’s discretion in the matter was the fact that the student is the only Black person enrolled at the school. This excuse is not satisfactory, so Sister Aloysius calls in the student’s mother, Mrs. Muller (a sincere, sympathetic and forthright Quincy Tyler Bernstine), and learns that the student may show signs of homosexuality and is beaten by his father, so any special attention given to her son by Father Flynn would be more than welcome. No spoiler alerts here but be assured the proceedings that follow are intriguing and unsettling to say the least.

Ms. Ryan creates a Sister Aloysius that is as cold, stiff and pointed as a perfectly formed icicle. Deliberate in her intentions, committed to her duty and protecting her position. Mr. Schreiber calculates every expression and movement to present a very ambiguous character but manages to instill integrity, courage and intelligence to the accused Father Flynn. His demeanor and poise accentuate his strength and vulnerability. Ms. Kazan brings an element of innocence to Sister James but assures us that she is clever, a devoted teacher, filled with new ideas, techniques and acceptance in contrast to the old guard positions imposed by her superior. Mrs. Muller is given a stalwart portrayal by Quincy Tyler Bernstine, instilled with passion, determination and unconditional love for her son. Ms. Bernstine gives a powerful and remarkable scene stealing performance.

Director Scott Ellis breathes new life into this revival, finding new meaning in the word ‘doubt.’ Questioning faith, organized religion, sexuality, power, devotion, trust, morality, hierarchy, racism and purpose. When it first premiered in 2004 it was the height of a huge scandal accusing Roman Catholic priests of sexually abusing young boys in their parish. In the present day, fake news seems to be causing most of the doubt people may be experiencing. Whom to believe, what to believe, and how to maneuver the false allegations has become a national pastime. Now it is not only the Roman Catholic church which is in the spotlight, but clergy from all religions and politicians from all disciplines cause concern about their behavior. Society is hurtling towards a time when people will no longer doubt, they just will stop caring.  Those in the audience will undoubtedly leave the theatre with inspiration that will be consumed with doubt. A must see this theatre season!