Cuauhtémoc Kish | Downtown News
- Through Sept. 25
- Performed in Repertory with “Richard III” and “As You Like It”
- Old Globe Shakespeare Festival, Lowell Davies Festival Stage
- 619-234-5623 | theoldglobe.org
In 1925 a Tennessee schoolteacher read a passage about evolution to his students and all hell broke loose, not only in that small town of Dayton, but around the nation. The passage, originally published in 1859, came directly from Charles Darwin’s “On the Origin of Species.”
Twenty years after the event, Jerome Lawrence and Robert E. Lee wrote a play about that very trial called “Inherit The Wind.” The real event, referred to as the Scopes “monkey trial,” chronicled the emotions of both sides of that evolutionary argument that was used to address a broader theme about individual rights. But the play pits science against the Bible and has Clarence Darrow speaking for Scopes while William Jennings Bryan argues for the prosecution. Scopes was found guilty of teaching evolution in a state-funded school, but the guilty verdict was overturned on a technicality.
It’s now 2012 and it seems like nothing has changed.
Staunch conservatives still fight against Darwinism, holding up the Bible as proof that such a cockeyed idea as evolution could be valid. And so, once again, “Inherit The Wind” becomes a timely topic of conversation and divided discussion.
Adrian Noble takes this vintage piece and gives it as much life as possible; time has not been especially good to this drama, a play that is full of God-fearing bombast and little else.
It is wonderously staged on top of tables and scattered with chairs, ingeniously designed by Ralph Funicello, allowing for a courtroom, a jailhouse and the town, as well.
Adrian Sparks plays the prosecutorial role of Matthew Harrison Brady with blind fervent, mouthing a non-stop, literal, overly simplistic interpretation of the Bible.
Robert Foxworth takes on the role of Henry Drummond; he’s a straightforward, pro-bono defense lawyer with a dry wit who chops up Brady’s Biblical argument with ease; that is, when he’s given half a chance by the local, prejudicially partial judge who holds the gavel.
By today’s theatrical standards this trial is overly simplistic, and too predictable. All of the characters are limited to one-dimension.
Dan Amboyer takes on the role of the accused teacher, Bertram Cates; he accepts his fate while sitting next to his attorney and simply hopes for the best possible outcome. His best gal, Rachel (Vivia Font) just happens to be the preacher’s daughter who argues that her man should embrace the Bible’s teachings and forget about science; she’s conflicted and confused. Both do the best they can with their one-dimensional assignments, but can’t do much to make the material sing dramatically, and more importantly, make you care.
Adam Daveline, playing a big city reporter whose character is based on H. L. Mencken, does a fine turn as E. K. Hornbeck. He reports on the proceedings and the townsfolk with insight and a grand dramatic flourish. Charles Janasz proves a worthy Reverend Brown; he’s overly strict with his daughter as well as his congregation and remained a predictably narrow-minded blowhard throughout. The other cast members contribute well enough with words and perfect harmonies that introduce many of the scenes.
Deirdre Clancy dressed up the small town in appropriate browns and black traditional garments from the era of the mid-1920s.
“Inherit The Wind” gives us all pause, asking us to remember the “Red Scare” hysteria of the past and to examine our current hysteria over abortion and gay rights, and yes, ongoing, literal interpretations of the Bible.
Cuauhtémoc Kish is a freelance writer and fiber artist who has written about the theater for many years. He can be reached at [email protected].
