Review: 2nd Story's Inherit the Wind

  The staging of Inherit the Wind in the Bristol Statehouse gave 2nd Story Theatre the opportunity to increase the drama, energy and excitement beyond that which might be achieved in a blank-slate theater setting.  Watching the play, which is inspired by the Scopes "Monkey Trial", unfold in a courtroom is a unique experience.  

The theater's usual performance space is currently being fitted with a sprinkler system; finding an alternative space for the first production was essential. The idea of staging of Inherit the Wind in the Bristol Statehouse reminds me of the staging of Cabaret in Studio 54 a few years ago. 

Jerome Lawrence and Robert E. Lee wrote Inherit the Wind, beginning in the late 1940s; its first production was in 1954, and it opened at the National Theater in 1955.  While Wind is ostensibly a play about Creationism v. Darwinism, it is saturated with tones of McCarthyism throughout.  The authors take the title from The Book of Proverbs chapter 11, verse 29:  " He that troubleth his own house shall inherit the wind: and the fool [shall be] servant to the wise at heart." as taken from the King James Version.    

The story is dark, and as current today (see Kitzmiller v. Dover Area School Board) as it was when it was being written.  Artistic Director Ed Shea's production continues both the art and the discussion. After certain performances, there will be moderated discussions about the play and the issues it presents.  This is a piece that would invite lively post-performance discussion.

At the Bristol Statehouse, we, the audience, sit where the spectators would sit in a courtroom.  A couple of audience members actually sit with the actors in the jury box.  The only additional scenery is a set of six chairs that were made by Warren Chairworks, specifically for this production. Ron Cesario's period costumes are well constructed and utilitarian, as called for in the piece.   

If the entire play were presented as convincingly as the final scene between E. K. Hornbeck (Joanne Fayan) and defense attorney Henry Drummond (Eric Behr), the production would be in great shape.  Casting Ms. Fayan in a role that has traditionally been played by a man works well in this production.  As Hornbeck, Ms. Fayan is reminiscent of 1940's film stars Ruth Hussey or Rosalind Russell.  The patter, the back and forth, between Fayan and Behr provide the finest moments in this production.  Mr. Behr's acting is strong throughout the production, but when paired primarily with Ms. Fayan, the dialogue flows perfectly. Ms. Fayan's delivery of the line "…. an atheist who believes in God" is just as it should be.  

As Reverend Brown, Jim Brown gives a speech/sermon from the gallery seats in the courtroom. It is disturbing, and convincingly delivered by Mr. Brown.  The flow and force of the speech, combined with the fire and brimstone text, gave the production its only real tension.  

Much of the cast gives adequate performances, without much nuance.  More than one member of the cast, unfortunately, was not ready for opening night.  At minimum, the audience should feel like the cast knows the play intimately and that each actor knows his or her lines, and the respective line reading. With that missing, this production lacks the tension that is necessary for the play to have an impact.  The stress of the trial is supposed to be so great as to cause the death of one of the main characters.  That stress should be conveyed to the audience and for the most part, it isn't.

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