Forget Sister Act (no nuns belting out rousing choir songs). Move over Nunsense (even though it is “habit forming”). No comedy tonight. Take a seat, open your mind, and get ready for one of the most powerful, well-acted and thought-provoking pieces of theatre you will see this year. Maryland Theatre Collective’s (Brooklyn Park, MD) production of Agnes of God will leave you speechless with contemplation and full of emotion by curtain call. But this is no ordinary drama. The roller coaster of emotions throughout the play are felt as keenly by the audience as by the characters on stage, causing examination of one’s own personal thoughts and beliefs while taken on a journey of self-discovery.
American playwright John Pielmeier started it all in 1979, having been inspired to write the play after reading about an event that occurred in a New York convent where a nun was found in her room having given birth, with the baby asphyxiated in a waste basket, and not being able to remember being pregnant. Interestingly, the girls’ high school, St. Agnes, where some of the nuns taught at the time, is closed now but perhaps this is where Pielmeier got the idea to name his tormented young nun Agnes, although the title of his play is a pun on the Latin phrase Agnus Dei (Lamb of God). Pielmeier added to the story by weaving in a court appointed psychiatrist and Mother Superior to advance the plot through flashback and exposition. That’s it. Only three actors on stage. The result is, if done well, a powerhouse piece of theatre that will leave you breathless. And done well this production is, without a doubt.
The play first opened at the Eugene O’Neill Theatre Center in Waterford, CT in 1979. It went through five other productions, from 1980 culminating in a film adaptation in 1985. In fact, the 1982 Broadway production (which closed in 1983 after 599 performances) won actress Amanda Plummer (Agnes) a Tony Award. The film version starred Hollywood stalwarts Anne Bancroft as the Mother Superior, Jane Fonda as the psychiatrist and Meg Tilly as Agnes.
Director Tommy Malek, known for his penchant for directing rousing musicals, has put together a masterpiece of drama showcased in a “in-the-round” theatre space (actually, there are seats on only three sides, but the audience is intimately close to the action). Having only three actors on stage demands expert casting, and Malek does not disappoint. He could not have chosen better when casting this show and added some of his personal tweaks (Malek likes on screen projections) which perfectly accent and further the plot line. The set is simple, an office inside the convent, complete with a desk, a few chairs and area rug. Other than the projection screen that’s about it and, complemented by Thomas P. Gardner’s lighting design, that’s all that is really needed. This way, the main concentration is on the three actors. The set and lighting support, but do not flavor, the show. That flavor comes from the cast, as it should. A special mention should be made about a brilliant light/sound effect at various times throughout the show, such as when Agnes turns and speaks a line to one of the others, using an out-of-character voice while accented by a white light tuned to her face. Having never read the play I cannot say for certain whether this is written into the stage directions or is one of Malek’s brilliant ideas (I wouldn’t put it past him), but this eerie yet soul stirring effect is one of the small details that add to this production’s appeal. It’s powerful stuff.
Dr. Martha Livingstone (Erin Hanratty) is a conflicted soul herself. Through mini dialogues at various times in the show we learn about her past and what drives her hard-nosed approach, seeking answers based in science yet bearing her own cross as to her relationship with faith. This becomes very apparent during her sessions with Agnes, trying to get to the bottom of what happened, yet confronting her own demons more so with challenging dramatic exchanges with the Mother Superior. These exchanges take the form of arguments, some amusing banter, thought provoking discussions and, at times, can get downright uncomfortable (which is the point). Hanratty brilliantly channels the good doctor who is seeking to balance her job with her own personal issues with God. She shines in her confrontations with the good Mother and, by the end, gives an emotional and gut-wrenching conclusion to the audience that will leave you in tears.
Mother Miriam Ruth (Pamela Northrup) is a force to be reckoned with. Northrup’s tour-de-force of character acting is like a hurricane of emotion, with gale force winds blowing the audience from side to side with her rousing speeches and biting confrontations. Yet Miriam Ruth is also very human and treats Agnes with such care and nurture that we see a totally different side of her at times. As much as reality has stained her personal life, this woman still wants to believe in miracles. This ability to run the gamut of such extremes is the hallmark of good acting and Northrup is a master. We learn why she is so over-protective of Agnes, and of her role in the situation which has brought the doctor to their convent in the first place and, no spoilers here, but Northrup takes us on a trip throughout the good Mother’s life that, by the end, one is left with a keen appreciation for who and what she is. Like the eye of the hurricane, she does have some relatively calm moments in the show and, at times, she and Dr. Livingstone even appear to reach some common ground and mutual understanding. But that ebbs away by the rousing climax, however, and Northrup’s closing comments to the good doctor blows trees down, cuts power and floods the eyes of the audience with tears. Definitely a Category 5.
Sister Agnes (Kaitlin Ruby) is an innocent, tormented soul. We see it from beginning to end, with some brief fleeting moments of clarity. Ruby’s portrayal of the nun accused of murder will unnerve, shock, and captivate you. From the first time she enters, Ruby’s masterful facial expressions, with wide eyes flickering and moving from side to side, will grab you. Her voice, at times childlike, at times angelic (she sings like a true angel of God), combined with her ravings provide not only much needed exposition but endear the audience to her twisted plight. Ruby will suck you in the minute you first lay eyes on her, leave you distraught when you last see her, and leave you devasted by the good doctor’s final speech even when she is not physically on stage. Such is the power of this actress who has the ability to make one truly believe in her character. Just watching Ruby is mesmerizing. Keep an eye on her towards the end when we get a glimpse of what really happened to her that fateful night. I was literally on the edge of my seat watching this woman, forgetting that this was a play but captivated by her riveting performance. Such a sad character, but vital to the plot of the play and portrayed by a woman whose acting transcends the here-and-now and truly ascends to the gates of heaven where she belongs. Brilliant is an understatement.
Whether or not Agnes killed the child, if/how she became pregnant in the first place, and many other questions will be answered…or not…but, as one viewer post-show stated, that’s not really the point. This show is a giant onion, with layers and layers that are peeled back revealing not only plot, but important insight into the characters and this is what truly matters and where Agnes of God shines. The three have complicated and traumatic pasts and are forced to confront their own beliefs and relationship with their faith and each other as they navigate this complex journey with and through each other in a convent office. The result is a show with deep meaning that will leave you reflecting, questioning and even examining your own life. Score one for Pielmeier. Mission accomplished. Don’t walk, run to buy your tickets, and experience this masterpiece.
Running Time: Approximately 1 hour and 45 minutes with one intermission
Agnes of God plays through August 13th 2023 with The Maryland Theatre Collective in Studio194 of The Chesapeake Arts Center— 194 Hammonds Lane in Brooklyn Park— Baltimore, MD. Tickets can be purchased at the door, though they are strongly recommended to be booked in advance online.
