Lifeline Theatre, one of Chicago's most innovative and risk taking ensemble companies, has created an intriguing and thought provoking production in the adaptation of Ron Hansen's 1991 bestselling novel, Mariette In Ecstasy.

Ecstasy explores the phenomenon of stigmata (marks resembling Christ's wounds appear on an individual's hands) and the effect it has on a community of nuns, evoking some most unholy of reactions. The plot unfolds in 1906 where 17-year-old Mariette Baptiste enters an upstate New York convent. She is the daughter of a wealthy doctor and sister of the prioress, Mother Celine. Her beauty, intense devotion, and asceticism set her apart from the other nuns who are all highly conscious of fighting the sin of pride. While her sister is dying of cancer, Mariette experiences Christ's wounds. The priest who hears confessions at the convent respects her humility and her astonishment at the miracle. But others in the convent are jealous. When villagers want to see the stigmata, the new prioress realizes that Mariette has become a threat to the organization, poverty, and discipline of the community. She sends Mariette home in an effort to protect her own authority.

Working with a smart, no nonsense adaptation by Christina Calvit, director Elise Kauzlaric has assembled an incredibly competent cast anchored by the Jeff worthy performance of Brenda Barrie who gives both a physically and psychologically nuanced interpretation of Mariette. Throughout the production, Barrie has a uncanny ability to separate herself from the other nuns in such subtle ways that when she is on stage, all eyes are focused on her actions. There is also a fantastic chemistry between Barrie and Patrice Egleston who plays her sister/Prioress. Both actresses, through the eyes of Kauzlaric, sees the physical transformations of their characters, one by faith and one by illness, as subtle yet heart wrenching.

Each actress brings a unique character trait and immense personality to their roles, which is not an easy task when all but their eyes, nose and mouth are visible. The two male actors of the piece, Shole Milos (Dr. Claude Bapiste) and Brian Parry (Pere Mariott) gives the story a nice juxtaposition of male authority and proves just how subordinate, both in eyes of society and religion women were treated at the turn of the century.

Married with the first rate acting is the unique environment the technical team at Lifeline has created for the Nuns to inhabit. Scenic designer Alan Donahue has build a dramatic, multi-tiered set, with winding staircases fronted by jail cell bars. Sarah Hughey's lighting design augments the set magnificently, at times casting haunting shadows, while in an instant, changing into a type of interrogation spot when the inquisition of Mariette is conducted. Not as noticeable, but much appreciated is Tim Hill's sound design, where he uses hallowed echoes to signify the cavernous chambers of the Sisters' nunnery and becomes quite a powerful device during the chants, expertly guided by musical director Joseph Burt.

As with any adaptation, there are some development details from the novel that would better round out the characters. Most importantly, Calvit gives little background on the father-sister-sister relationship which is a bit more flushed out in the novel. That background creates a greater emotional effect on Mariette when her sister passes away. Hanson, as in his other novels, also makes society an essential character in Ecstasy, which is taken a bit for granted on stage. Whether intentionally or by accident, Calvit's stage adaptation closely follows the 1996 film screenplay (which featured Eva Marie Saint and John Mahoney). The play and film's ending is much more abrupt then the novel, leaving the audience a little unsatisfied with the ultimate columniation of events. Not to say that everything should be wrapped up in a nice little package, but dare I say, by the end of the Lifeline's Mariette in Ecstasy, you may be sensing a lot of... doubt.

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