STILL WATERS
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The Reverend Myrtle, an ordained minister, is the daughter of a country preacher (the denomination is not specified, but clues point to her being Presbyterian). Since her father’s death some years earlier, she has filled the pulpit of his church–protocol for a “supply” preacher (analogous to a substitute teacher), particularly since World War II has made menfolk somewhat scarce in this part of rural Michigan and women have assumed many formerly male occupations. (As well as their pastimes–Myrtle and her mother arm wrestle at the kitchen table. “Are you Japan this time or am I?” “It’s your turn to be Italy.”) But with the end of the war the conservative congregation, led by the scripture-quoting local sheriff, votes to replace Myrtle with a preacher “who can talk man-to-man with God.” The rival candidate is patently unqualified for the post (“He can’t even pronounce the biblical names right!” complains Daisy), and a substantial portion of the flock favors keeping Myrtle as its spiritual leader. There is also a hint of revenge in Sheriff Orvis’s campaign; when they were children, he was sweet on Myrtle, who had eyes only for Jesus.
At first Myrtle accepts the decision of her peers. But as the marriage of her cousin Gertie to the unfeeling Tom grows more and more troubled, Myrtle grows impatient with the old-time religion that is no longer adequate to address postwar problems. After tragedy strikes, Myrtle realizes her duty is to follow “the call” and fight the hypocritical complacency of the church.
What constitutes proper obedience to God, and who is most fit to guide that obedience? These are the questions asked in Still Waters. Allen has given us a play small in scope but humane in its message, skillfully crafted and sensitively executed. Sounds like enough to ask of an award-winning playwright.
