The Last Confession

The Last Confession Photo Credit: Cylla von Tiedemann.

Toronto’s Royal Alexandra Theatre is the first stop on an international tour of Roger Crane’s The Last Confession starring David Suchet and a highly acclaimed international cast. The play recounts the sudden death of Pope John Paul I in 1978, an event that shocked the world just 33 days after his accession. Over the years, rumours have abounded about the mysterious circumstances surrounding his death, not least because the cause originally reported by the Vatican has been disputed, and no autopsy was performed.

Centred on the final confession of self-proclaimed pope-maker, the Machiavellian Cardinal Giovanni Benelli (Suchet) as he struggles with intense guilt and a crisis of faith, this political drama tackles the presumed backroom maneuverings of the College of Cardinals in the wake of the pope’s unexplained death. William Dudley’s towering set is complemented well by dramatic lighting and music that evokes the epic scale of the Vatican, against which the self-serving machinations of the Cardinals appear small and all-too-human. Suchet’s immense talent is evident throughout, and Hercule Poirot’s many fans will be titillated as Benelli cross-examines other Cardinals in the aftermath of the pope’s mysterious death. As would be expected, performances are excellent across the board, with Richard O’Callaghan’s endearing and flighty caricature of John Paul I providing an entertaining highlight.

The problems with the play are rooted in the script, not in Jonathan Church’s excellent production. One would think that in addition to being ripe for dramatization, the topic of murder at the Vatican offers an ideal opportunity to present a rich, nuanced investigation of the inner workings of one of the world’s oldest institutions. However, Crane’s script relies heavily on an imagined and, frankly, anachronistic liberal-conservative political split between the Cardinals that does not ring true, and the absence of any honest attempt to deal with the question of spirituality renders attempts to humanize the priests completely flat. As cynical as Crane is about the papacy, presenting the institution as he does, as largely devoid of faith, is akin to writing a play about J.S. Bach that only rarely mentions music—it just doesn't make sense. It is a true shame that a production with such superb talent at its disposal so completely lacks soul.

The Last Confession runs until June 1 at the Royal Alexandra Theatre. Visit mirvish.com for more information and to buy tickets.