The supposed conversion of Native American savages into Christian angels is a topic of much discussion these days, particularly as we approach the 500th anniversary of Columbus’ arrival on North American shores. Films, books, lectures, art exhibitions, and curricula have challenged traditional notions of the explorer’s heroism and labelled the early colonization of America as cultural imperialism.

James W. Nichol’s play “Sainte-Marie Among the Hurons,” playing through April 19 at the Penobscot Theatre, offers the same critical stance, yet manages to make us feel pity for a 17th-century Jesuit missionary sent to Canada to save the Huron nation.

Blackrobe, as he is called by the Hurons, must suffer through a rough adjustment to New France, where he is neither respected nor admired by his reluctant native hosts. In addition, he is tortured by an obsession with martyrdom and frustrated by his ineffectiveness at gathering sheep for the flock.

He makes friends with one young Huron, but is generally alienated from the tribe and, consequently, somewhat dubiously grounded in reality. Blackrobe’s conscience, depicted by a disfigured and filthy being, mercilessly mocks the missionary’s weak character and troubled religious life. Young and well-born, Blackrobe is nearly consumed with his own guilt and the enormity of his mission among the heathens. He cannot seem to bridge the cultural and spiritual gaps, and is gravely reprimanded when his superiors arrive and realize the ineptitude of their brother.

As presented by Penobscot Theatre,”Sainte-Marie Among the Hurons” is a plodding psychological profile of an unfortunately disturbed priest on a mission beyond his means. Director Odelle Bowman has made efforts to add spark to the show by adding artistic masks and Native American music, performed beautifully by musician Norm Vincent and a chorus of lovely voices.

Crisp sound effects developed by Christopher J. Guilmet, Kelly Demmons, and Vincent, a multitiered and woodsy set by Harold Hynick, and impressively shadowy lighting by Penny Remsen set the mood for this sometimes eerie play.

But finally, the show is rather uninspired largely because the actors are not proficient in creating believable characters, no matter how perfunctory they are to the white-man’s-burden plot.

As Blackrobe’s friend Sleeping Water, James Sturtevant mugs his way through the entire performance. There is very little convincing evidence that he is a man torn between his own culture and a friendship with a white man. As the triumvirate of priests who visit the Canadian mission, Jerry Metz, Harold Hynick, and Alan Gallant are as bland as an unconsecrated communion wafer. Gallant spurts out the Latin mass as if he were spitting watermelon seeds rather than the sacred mysteries of a religion.

Christopher J. Guilmet, as the Martyr who is Blackrobe’s conscience, has the look of a wild-eyed demon and uses his strong voice to command attention, but for theatergoers who have been watching him all season, the performance isn’t very fresh. Guilmet is an obviously talented actor in need of a terrifically talented director.

Craig Peritz, in the lead role of Blackrobe, offers the best performance as his melodramatic moves and delivery are often suited to the serious character he is portraying. He makes the sign of the cross backwards (touching his right shoulder before his left), but is generally effective in nailing down the vulnerability, weakness, and naivete of his character.

If you’ve seen the movie “Black Robe,” which was released in 1991 and made a brief stop at Bangor Cinemas this year, then you’ve probably seen as much as you can take of this salvation-for-the-savages adventure. But if you’re interested in seeing yet another adaptation of Brian Moore’s novel “Black Robe,” then this drama may be of interest to you.

“Sainte-Marie Among the Hurons” will be performed 8 p.m. April 3, 9, 11, and 17, and 2 p.m. April 5 and April 19 at the Penobscot Theatre. For information, call 942-3333.