The productions at Jewish Repertory Theatre are consistently thoughtful and moving. Even the comedies aren’t all frothy and fluffy and have impact, and that’s what I appreciate most about this fine company. Conscience, on stage now to November 23, is a fine example of what JRT does best.

Conscience isn’t merely straight-up storytelling. Playwright Joe DiPietro’s script is a moment of American history when a lawmaker who happens to be female stands up to a lawmaker who happens to be male. And a red-baiter. And a bully. And who is intimidated by her strength, passion, and popularity, and would never, ever admit that.

David Mitchell is Senator Joe McCarthy, the one from Wisconsin who was looking for (and often imagining) communists in every corner of our country in 1950. Mitchell captures that essence of the evil and cunning and bumbling man who is touting his own success while battling his own demons. Mitchell captures McCarthy’s arrogance and hubris perfectly, from gruff voice to crass demeanor.

Josie DiVincenzo is more than admirable as Margaret Chase Smith, the first woman to hold a seat in Congress and then get elected to Senate (the only woman at the time). This is a perfect role for DiVincenzo, who pours her heart into Smith’s commitment to serve her people in the great state of Maine and uphold her convictions for a socially just world. She’s fierce about service and her position in Congress, and while she disdains how her party is attempting to showcase her as Maine’s First Mom and Pie Baker (“I don’t bake, I legislate,” she proclaims), she knows that is part of what that era expects. DiVincenzo captures all this and more, with her perfect posture, firm voice, and expressive face and gestures. She demonstrates that sublime combination of power and vulnerability in a wise and authentic way.

Nick Stevens does a fine job as Bill Lewis, Smith’s legislative aide. Poised and polished with a secret life that was beyond devastating at the time, Stevens brings a sincere dignity to this role. There’s one scene in particular – where McCarthy encounters Lewis in a men’s room – that is full of tension and anger. Stevens brings you along with his rage and his helplessness. If you remember his role as Pale in Road Less Traveled Productions’ Burn This last season, you saw his anguish. This time we see a determined strength layered over vulnerability.

It was amazing to see Anna Krempholtz in this role. Fresh off a decidedly different part in The Cottage at Alleyway Theatre, she is Jean Kerr, McCarthy’s young aide (and object of his fanny smacks) who is at first in awe of Smith and then is ready to help McCarthy (by now her husband) to destroy her. Krempholtz’s versatility as an actor is amazing. Near the end of the second act, there’s a poignant scene when McCarthy’s demons are visibly destroying him and Kerr takes his arm to lead him first to a chair and then away: there’s tenderness tempered with some sad resignation here from both actors. It’s visible, palpable, and key to understanding – as Sting would say – “how fragile we are.”

Central to this production is the nation’s reaction to Declaration of Conscience, first delivered on June 1, 1950. It was a critical moment in our history that isn’t remembered as strongly as it should. Thanks to JRT for including a printed copy in the playbill,

Director and Projections Editor Steve Vaughan make good use of JRT’s stage and trademark minimalist set and props. The quartet of actors create multiple spaces and places by moving a few straight back chairs and square tables into various configurations; it’s up to us and our good thinking brains to imagine the rest of the room. Skilled use of lighting (Brian Cavanagh) and audio drawn from history (Tom Makar) fill in the gaps. There are multiple projection screens, and on opening night, there was a section of the “stage” screen which appeared a little out of focus at times. Theatre Companion confirmed that it was not my eyes at fault: hopefully this was adjusted.

Conscience is well-executed and showcases the breadth of depth of some of our community’s finest actors in significant and challenging roles. The show runs a bit over two hours with a brief intermission. Find tickets and details at https://www.jccbuffalo.org/jewish-repertory-theatre.