As the country has become increasingly polarized over a variety of issues, many people in the middle of it all don’t know which way to turn. Playwrights have taken notice by creating works that attempt to present a closer look at what the options are. These often unsettling plays can provide much food for thought while hopefully offering more than just imaginative civics lessons.

Last month, Mad Horse Theatre presented Will Arbery’s “Heroes of the Fourth Turning,” a play that offered a glimpse of youthful, far-right conservatives gathered around a small Catholic school in Wyoming. Now, the Footlights Theatre has opened a production of Maine author Hal J Cohen’s new play “Dominion” in a powerful, heartfelt and very well-acted world premiere run that follows a group of five individuals interacting at a faith-based event in the Midwest.

We begin with an introduction to a semi-goofy actor (Sean Farrelly) who has been hired by a creepy, self-proclaimed “rogue” minister (Zack Handlen) to play Jesus in a theatrical production geared toward reinforcing Christian beliefs and confirming the value of the minister’s services. This “Jesus” has problems staying on script and, though he offers few answers, he soon gets into highly emotional and empathetic conversations with visitors Ruth (Justine Wiesinger) and Miriam (Victoria Machado).

Ruth’s a bit of a tortured soul who has lost a loved one and blames the purported representatives of God for her fraught state of mind. Miriam, a seemingly more together professional person, reveals her own very personal grudge against the minister and the money-seeking corruption of faith that he appears to represent.

Conversations between various combinations of these four characters feature some very strong, even fierce, acting, no doubt a bit heightened for the audience by the proximity provided by the intimate theater space in Falmouth. Threats and minor acts of violence do startle.

Rounding out the cast is Daniel Rennie as The Man in the Shadows, a sort of reliable local guy who happens to be surrounded by people on the edge. His guitar and song performance opens the play with a gentle touch that he continues to give to his role throughout.

There is a passage in the play where one character outlines Dominion theology, the goal of which is to establish Christian control over all aspects of society, including government, family, education and the arts. Playwright Cohen may not have gone as deeply as he could have in unraveling all the forces at work in such religious/political movements. The focus of this 90-minute play, as directed by Michael J. Tobin, is more on the personal issues for those who are made to feel insecure and vulnerable as they confront intense confusion surrounding the question of what to believe. At that, it’s very good.

Steve Feeney is a freelance writer who lives in Portland.

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