Lists for INHERIT THE WIND

Production                                                Cast           

Record-Eagle, Traverse City, January 25, 2000
Nancy Sundstrum, Review of Inherit the Wind, Old Town Playhouse.

After opening their 40th season of civic theater with two crowd-pleasing musicals, "Nunsense" and "Annie," Old Town Playhouse (OTP) has now delivered a first-rate production of an American classic, "Inherit the Wind."

A powerful courtroom drama by Jerome Lawrence and Robert E. Lee, "Inherit" is based on the infamous 1925 Scopes "Monkey" Trial, where crusading attorney Clarence Darrow and conservative William Jennings Bryan squared off to debate whether a teacher had a right to present Darwin's Theory of Evolution to his students. It also became an acclaimed film in 1960, starring Spencer Tracy and Frederic March.

This version, helmed by OTP veteran director Jeanette Mason and graced by a strong cast and production values, is a wonderful testament to why it has remained a timeless, compelling theatre experience. The larger issues it addresses - an individual's right to think and express themselves without recrimination or reproach, and the price we can pay for standing by our convictions - still challenge us as a society, and this intelligent, entertaining play is bracing in its reminders that our freedoms must be protected.

The cast is headed by two other longtime OTP director/actors, and it's a true pleasure to watch Phil Murphy and Steve Morse portray Matthew Harrison Brady and Henry Drummond, respectively, with such focus and energy.

Murphy delivers a powerhouse performance in the more difficult of the two roles, primarily because Brady is written as self-righteous and close-minded. He hits all the right marks in giving the bombastic Brady depth, ultimately creating compassion for a character whose zealousness and ego all but blind him to the dangers of the extremities of his thinking. Yet he also finds charm and charisma in the man, whether he's schmoozing at a town picnic or delighted with his own wit when he proclaims that he is "more interested in the Rock of Ages than the ages of rocks."

His undoing comes in the form of tenacious, smart Drummond, with whom he was once friends and still respects. Morse plays Drummond sharply, continuing to reveal new facets of the character right up to the end, and his style is a fine complement to Murphy. The scene where Drummond has Brady take the witness stand is a true standout, very capably handled by the two actors.

One hopes to see more stage work by OTP newcomers Edward Mulcahy and Christina Velderman, who play two young teachers caught in the crossfire of the trial. Mulcahy is an earnest, frustrated Bertram Cates, a dedicated educator who simply wants to expose his students to new ideas, and Velderman is Rachel Brown, whose loyalty to a growing friendship with Cates is in conflict with her father, the Reverend Jeremiah Brown (nicely played by Mike Kelly). The pair have good chemistry together as they struggle to make sense of the chaotic, carnival-like atmosphere around them.

The large cast also features fine support from Mike Nunn as the acid-tongued reporter E. K. Hornbeck, Diane Hubert as Brady's concerned wife, Hedges MacDonald as the Mayor, Tom Bohnhorst as the Judge, and young Kit Tholen as one of Cates' students. All of the actors who appear as the jurors, including George Hunting, Chris Wendel, Matt McCormick, Mike Carney, Ron Stevens and Phil Callighan, also deserve mention because of the difficulty of remaining in character, which they all do well, while having no speaking lines and being challenged to more subtly register their emotions while watching the action.

Across the stage, the ensemble playing the courtroom spectators might better serve the production by exercising a bit more restraint with their reactions to the proceedings. They're set up as a sort of Greek Chorus, but at times, their outbursts are simply too frequent and loud, forcing the audience in close proximity to strain to hear key dialogue between the main players. One has to resist the urge to shush them, as you would noisy patrons in a movie theater.

The play boasts excellent production credits, especially in the efficient and effective set and lighting design by James Russell, costume design by Nancy Albrecht and Donna Hood, and set decoration by Betty Gordon. The mood is evocative of a more nostalgic era, yet realistic to the point that once believes they're sweltering in the oppressive heat of a packed courtroom, while a northern Michigan winter waits outdoors. Director Mason has brought this show to life with a sure hand, keeping the pace running smoothly and creating tension while not missing any opportunities to relieve it with the play's wit and humor.

"Inherit the Wind" runs January 27-29 and February 3-5 at 8:00 p.m. and Sunday, January 30 at 3:00 p.m. For ticket information and reservations, call (231) 947-2443.

Article in Record-Eagle by Nancy Sundstrum

In many ways, Old Town Playhouse (OTP) couldn't have chosen a better play to ring in the new century with than "Inherit the Wind."

It is, after all, one of the most powerful dramas to emerge from the past century, and is based on an important piece of American judicial history - the infamous Scopes "Monkey Trial" of 1925 where crusading attorney Clarence Darrow and conservative William Jennings Bryan squared off to debate whether a teacher had a right to present Darwin's Theory of Evolution to his students.

But plays like this one serve a larger purpose, says Director Jeanette Mason, whose show will open on January 21 and run through February 5 at OTP.

An individual's right to think is the cornerstone of the work, and though we already seem to have comfortably settled into a new century, the issues it presents are as timely now as they were in 1925, in the 1950's when the play was written by Jerome Laurance & Robert E. Lee, and in 1960, when it became a major motion picture with Spencer Tracy and Frederic March.

"The play was written in reaction to the histrionics of McCarthyism, and like most artistic enterprises, it is a combination of entertainment and social awareness," said Mason, who played one of the Bible League ladies in OTP's 1972 production of the show and also teaches it as part of the ninth grade curriculum at East Junior High School in Traverse City .

"The script examines the danger of stereotyping and holding extreme positions. As the personalities of the characters, which are fictional yet historically based, develop throughout the course of the play, the audience is able to understand the real issues at stake. As personalities are backed up to walls, the argument clarifies. This dynamic script juxtaposes a romanticized nostalgia for the "good old days," with the stark reality of mankind's natural curiosity and desire to improve life and make progress."

Mason, who has directed many other classic dramas at OTP, including "Death of a Salesman" and "Macbeth," as well as musicals such as "Cabaret," "Man of LaMancha," and two productions of "Fiddler on the Roof," believes that part of what makes this show timeless is that the issues it addresses are ones society still continues to grapple with.

"The Scopes trials were held at the beginning of the 20th Century, at a time when people were concerned about family values, their children's education, and how to live with new contraptions called automobiles, phones, and movies," she explained. "As we turn into this next century, the parallels are uncanny: family values, what should be taught in school and who should determine that, and how to adjust to the vast cybernet technology. I think it's held up brilliantly."

Joining Mason in bringing the show to life are two veteran OTP actors and directors, Steve Morse (Henry Drummond) and Phil Murphy (Matthew Harrison Brady), the parts based on Darrow and Bryan, respectively. The two last appeared together in 1978, when Murphy had the lead in "My Fair Lady" and Morse was a member of the ensemble, and both say they look forward to the opportunity to spar on stage in this show, as well as the chance to perform these challenging characters.

"This is a play about two points of view as personified by two very famous and headstrong men and the debate should be enjoyable to watch," said Morse, who also directed a production of the show in 1974 when he was stationed in the military in Bremerhaven, Germany.

"It's also the first time Phil and I have had the chance to square off. We both have a lot of experience and can put that to good use. The greatest challenge will be keeping things in control, and by that I mean that in a court room drama like this, it would be easy to turn it into a shouting match and play it angry. Henry Drummond is not like that. He and Brady are friendly competitors - they both like to debate the issue. Only at the end does it get personal."

Like Morse, Murphy was first drawn to this show upon first seeing the acclaimed 1960 film.

"I've wanted play one of the two main characters since then, but only now am I in the right age bracket. It's just taken some 30 years," shared Murphy.

"I was drawn to the character of Henry Drummond, originally. I have always admired Spencer Tracy's acting and wanted to play the role he so marvelously portrayed. However, I was cast as Matthew Harrison Brady, not a character I personally liked at the time I was offered the role. So there has been a great challenge in finding my way inside the character, finding that love of a character that is so vitally important for any actor if they truly want to bring a character to life. I had to dig deep to find that with which I could identify."

Both Murphy and Morse echo Mason's statements that the key message of the play is that what is on trial is not evolution vs. creation, but an individual's right to think and to speak without reproach.

"The message is the reaffirmation of our best and most basic rights as American - the freedom of speech and the freedom of religious expression,"Murphy concluded. "This is a play that deals with big, hard issues in a straightforward and simple way and we hope the audience is provoked to think for themselves and to understand that the freedoms to think, speak, and believe are precious."

The cast of "Inherit the Wind" also features Kit Tholen, Rachel Levine, David Curtis, Christina Velderman, Edward Mulcahy, Ron Stevens, Ann Levine, Mike Kelly, George Hunting, Chris Wendel, Matt McCormick, Mike Carney, Al Lien, Ellie Stevens, Phil Callighan, Brandon Bartkowiak, Wendy Kalush, Malina Swiatek, Denni Don Hunting, Robert Van Coillie, Mike Nunn, Diane Hubert, Hedges MacDonald, Scott Bufe, Tracey Towner, Rachel Wichman, Don Swan, Tom Bohnhorst, Jeff Curtis, George Beeby, Tina Ricca, and Steve McDiarmid. Production staff includes Staff Assistant Director Maureen McCarthy, Producer Margaret Schaal, Stage Manager Dick Cieslik, Assistant Stage Manager Steve Fordyce, and Set Designer James Russell.

Performance dates are January 21-22, 27-29 and February 3-5 at 8:00 p.m. and Sunday, January 30 at 3:00 p.m. For ticket information and reservations, call (231) 947-2443. "Inherit the Wind" is underwritten by the Dean Robb Law Firm.

"Inherit the Wind is not history&Only a handful of phrases have been taken from the actual transcript of the famous Scopes Trial. Some of the characters of the play are related to the colorful figures in that battle of giants; but they have life and language of their own...and, therefore, names of their own&So Inherit the Wind does not pretend to be journalism. It is theatre. It is not 1925." Jerome Laurence & Robert E. Lee

The idea for the trial originated in NY with the American Civil Liberties Union. It ran an announcement in Tennessee newspapers offering to pay the expenses of any teacher willing to test the new Tennessee anti-evolution law.

The Dayton community leaders accepted this offer primarily based on economics. They saw the trial as a good shot in the arm to Dayton's economy.

Both Bryan and Darrow had to be persuaded to participate. And guess who talked them into it&.the media.

John T. Scopes claims he can't remember ever teaching evolution and probably didn't since he was a math teacher and coach and had only briefly substituted in biology. He was never jailed. He didn't take the witness stand. The people of Dayton liked him and he cooperated with them in this test case trial.

William Jennings Bryan wasn't out to get Scopes. He thought the Tennessee law poor one and he offered to pay Scopes' fined if he needed the money. Bryan, familiar with Darwin's works, wasn't against teaching evolution, if it were presented as a theory, and if other major options such as creationism, were also taught.

Trial records show that Bryan handled himself well and when put on the stand unexpectedly by Darrow, defined terms carefully, stuck to the facts, made distinctions between literal and figurative language in interpreting the Bible and questioned the reliability of scientific evidence.

Bryan & his wife were on good terms, and she did not admire Clarence Darrow. Scopes dated different girls in Dayton but didn't have a steady girlfriend.

The defense's scientific experts didn't testify because their testimony was irrelevant to the issue at hand: whether a law had been broken. The experts were allowed to make statements as part of the record, however.

The topic of sex and sin did not come up in the trial. Neither did Bryan believe the world to have been created in 4004 BC at 9:00 a.m.

Instead of Bryan's being mothered by his wife, he took care of her, for she was an invalid.

The people of Dayton in general, and fundamentalist Christians in particular, were not the ignorant, frenzied, uncouth persons the play pictures them as being.

Scopes was found guilty partly by the request of Darrow in hopes that he could take the case to a higher court.

Bryan did not have a fit while delivering his last speech or die in the courtroom. In fact, he dies a week or so later due to complications from diabetes.

The trial courtroom was packed and it was exceedingly hot. At one point the court moved out to the front lawn but the judge moved it back in the courtroom for he had no control.

The atmosphere in Dayton was one of a carnival. The townsfolk reveled in the boon to their economy and the festive atmosphere.

Websites for more information on "Inherit the Wind":

http://xroads.virginia.edu/

http://www.kscfs.org/

http://books.nap.edu/html/creationism/origin.html

http://www.nsta.org/pressrel/jointstatment.htm