Mariette in Ecstasy

Chicago Free Press

An enthralling glimpse into an exotic other world, "Mariette in Ecstasy" plunges its audience into an early-20th-century convent, where the nuns' strictly scheduled lives become plunged into excitement and turmoil when a young postulant experiences divine revelations.

In some ways, it seems to tread the same thematic ground as "Doubt," the much-honored play-turned-film about deep questions rending a Catholic community. But there's no alleged sin on the level of sexual abuse in Christina Calvit's script (adapted from Ron Hansen's novel). Given the great swath of gray in which this central mystery resides, along with its richer canvas of characters, "Mariette" proves to be the superior story.

Director Elise Kauzlaric, an ace artistic team and an excellent ensemble plunge us into the self-contained world of the Sisters of the Crucifixion. Although their habits obscure much of the actresses' physical individuality, the members of the ensemble all turn in top-notch work, etching distinct personalities despite their nearly identical wardrobes. This is very much an ensemble piece, but there's no denying that the luminous Brenda Barrie dominates in the title role.

It's all precisely navigated on Alan Donahue's perfectly rigid set, both spare and prison-like. Guided by musical director Joseph Burt, the nuns' harmonies are strong and lush; meanwhile, dialogue-free interludes depict the monotony of priory life while indicating the passage of time. Everything conspires to prove, once again, that Lifeline Theatre consistently delivers some of Chicago's finest stagecraft.