Is ‘Agnes of God’ dark, divine or …?

Currently, “Agnes of God” has made that special list. Both interesting and intriguing, it is the story of a young nun, a dead new born, the convent’s Mother Superior and a psychiatrist. Who was responsible for the unseemly ccurrence?
Played by Shannon Maloney, Sister Agnes is the the young nun. Lynne Doyle portrays Mother Superior Miriam Ruth, of the convent where an unthinkable act occurred. Vera Samuels portrays Dr. Martha Livingstone, the psychiatrist who may or may not determine what really happened and possibly how and/or why as well as the guilt or innocence of those involved.

A desk, two chairs and a pack of cigarettes provide all that is needed on the black box stage in the intimate space of the 90-seat Pinkerton.Yet, there is more to this setting by resident scenice designer Tim Wisgerhof.

Above the stage is an array of aged carved beams symbolic of such a convent. When Wisgerhof creates a set, he does not stop at two chairs and a desk. Seated on four sides of this black box space, we in the audience are in a sacred space where something unseemly and even evil occurred.

Sister Agnes’ life up to an including her years in the convent has resulted in a troubled being who may or may not be aware of what has occurred, let alone why? Is she guilty of some terrible thing? Is she insane? Was she driven to this by something – or someone?

As Dr. Livingstone works with the young sister, emotions come to the fore and not just within the nun, nor even with Livingstone. At least the Mother Superior tries to protect the young nun – or does she? Who or what really is to blame?

Alyssa Goudy directed this whoddunit. The story may lead to self-questioning by some audience members.

Costumes are by Ross Boeringer, sound by Nate Blaweiss and Goudy, lighting by John Andzulis, props and production stage management by Lisa Million with music direction by Michelle Kassanofsky. Kathy Pingel and Dr. Caitlin Powell served as pychological dramaturgs. The production includes adult language, situations and herbal cigarette smoking.

Sadly, every seat was not filled at the Saturday performance I attended. Perhaps the previous Thursday’s storm was to blame. Those empty seats represented people who – for whatever reasons, missed an extraordinary story, well told, one told with bloody hands and real tears. All three actors had worked together in “The Spitfire Grill.” Maloney and Samuels also were both in “Reefer Madness.” Doyle has been in several other Venice productions. Samuels won several major awards for her depiction of Hamlet in “Hamlet.” All that experience was evident in their work in this darkly convoluted and bloody tale.

A co-winner of the Eugene O’Neill National Playwrights Conference, “Agnes of God” has gone on to well-received national and regional productions. To see it here in this setting at this theater, is to know why. To not see it would be to miss one of the best productions of what is already shaping up as a special season for the theater’s 75th annniversary.

“Agnes of God” continues through Oct. 20. For tickets, call 941-488-1115 or visit venicetheatre.org/tickets.

To donate to the restoration of the theater that was nearly destroyed by Hurricane Ian, visit venicetheatre.org or contact camille@venicetheatre.net. MIlions more are needed to restore this local treasure’s mai stage. Every donation is important, from a few dollars to a million or more. Email: kim.cool.sbc@gmail.com