Milwaukee’s only women-run theater company, Renaissance Theaterworks, continues its 22nd year with Agnes of God . John Pielmeier’s searingly intense 1982 drama has attracted an all-star cast of local actors, under the direction of company co-founder Suzan Fete. The result falls into the “don’t-miss” category of the early spring theater season. Agnes tells of a young, innocent nun who lives within secluded convent walls. Most of her days are spent praying and singing, often to herself. One night she is found in her room, after giving birth, aside a dead infant that has been tossed into a wastebasket. Agnes is booked for murder. She claims she has been impregnated by Immaculate Conception and is turned over to a court-appointed psychiatrist to judge her mental capabilities. Apart from Agnes and the doctor, the third actor is a much-older Mother Superior. She attempts to shield Agnes from truths that supposedly will destroy her innocence. Pielmeier’s play is crafted as a modern murder mystery. Along the way, it also touches on issues of faith and science, as well as the unsolved anguish lurking within the doctor and Mother Superior.
Agnes of God opened on Broadway in 1982. The production starred an award-winning cast: Elizabeth Ashley, Geraldine Page and Amanda Plummer. Plummer won a Tony Award for the Best Actress in a Play. The play was made into a 1985 film with Jane Fonda, Anne Bancroft and Meg Tilly. In the Milwaukee production, the action is played out on a minimalist set. It contains two chairs; one of them is overstuffed, and the other is a straight-backed wood chair. The set design’s white floor seems to peel upward on one side, rising to wall-level height. It is strikingly simple, focusing the audience’s attention on the actors.
Veteran actor-director Laura Gordon, who has appeared in many Renaissance Theaterworks productions as well as those at the Milwaukee Repertory Theater, delivers a masterful performance as the doctor. Appearing aloof and defensive when first confronted by the equally imposing Mother Superior (convincingly played by Flora Coker), Gordon allows her brave front to soften when discussing (to herself) some sad details about her experience with the Catholic Church. Likewise, Coker admits that, several years ago, she had fled to the church after admitting her failure as a wife and mother. Both of these deeply flawed characters are intensely focused on Agnes’ welfare. As Agnes, Rana Roman completes the talented triumvirate. Her large, trusting eyes convey Agnes’ innocence, while a wavering voice betrays her fear when she divulges details about events she clearly does not want to discuss. The doctor often must probe for the truth, asking questions that require only a “yes” or “no” answer. Roman’s beautiful, high-pitched voice, another big plus for this character, seems to float towards the audience. Although many area theater patrons may already have seen this play previously, this Agnes is a strong, solid production that will have the audience thinking about its own version of faith, fact, and reality.
