'Agnes' is potent, expertly executed

Agnes of God is a powerful story, as relentless and inevitable as a Greek tragedy, with all the hubris, pride and mystical belief found in the works of Sophocles.

In the play, set in modern times, Agnes (Morgana Sheldon) is a young, angelic novitiate at a convent ruled by a tough, devout Mother Miriam Ruth (Pat Ryan).

Agnes has given birth to a baby, which has been strangled and stuffed into a waste basket. Agnes denies that she ever had a baby, much less that she killed it. She roams the halls of the convent singing devotions (Briana Raymond's recorded voice) that the Mother Superior feels are straight from divine angels.

The courts have hired Dr. Martha Livingstone (Mollie Lutz), a psychiatrist, to determine whether Agnes is insane or a cold-blooded murderer.

It soon becomes clear that there is much more going on than a murder-insanity probe. Dr. Livingstone (Living Stone, get it?) has coldly and bitterly divorced herself from the Catholic religion of her birth. Mother Miriam is seeking refuge in the convent after a stormy life and hoping that she has come upon a saint in the person of Agnes. Agnes is in denial -- or is she?

This would seem contrived and cloying had not director Toni Best found gifted actors to tell this astonishing story and pulled from them outstanding performances.

Ms. Lutz's Livingstone is obsessive, chain smoking and striding around the stage as she verbally wrestles with Agnes, the Mother Superior and herself. Little by little, she realizes that the connections with her patient and her patient's superior are more intricate than she could ever realize. Ms. Lutz plays the role with precisely the right amount of passion, neither going over the top nor pulling it in too much.

Ms. Ryan's Mother Miriam is the perfect match for Ms. Lutz's Livingstone. Sitting quietly, totally controlled, she gives each carefully modulated utterance compelling authority. Each small hand gesture -- a tentative palm turned toward the doctor, fidgeting fingers reaching out to stop her young charge from saying too much -- is as commanding as a slap.

Ms. Sheldon's Agnes is fragile and ethereal.

George Friel's opening night sound has a couple of distracting glitches -- what is that off-and-on white noise? -- but the lighting is effective, especially the total blackouts before each of Dr. Livingstone's front-of-stage narrations.

The program bios indicate this is Ms. Best's first try as lead director of a serious drama, with her previous credits including things like Dracula, Arsenic and Old Lace and a children's show. Although she was blessed with seasoned and talented performers, this wonderful production couldn't have happened without a strong guiding hand, and Ms. Best provided that at every turn.

Those who enjoy thoughtful and thought-provoking drama with just enough light touches to relieve the tension would do themselves a favor by seeing this well-done production.

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