Perhaps that’s because, especially as a former teacher, I’m disturbed that more and more books are being crazily banned these days, so I’m somewhat more interested in this historical* story than many others. *[Note: Please keep in mind that this play is just based on<\/em> the Scopes Trial, and the action is far from what really happened in and around those proceedings, which is a fascinating story unto itself. One of the playwrights, Jerome Lawrence, said that he and his partner used the premise of the trial to highlight the insanity, (my word, not his,) of McCarthyism. He’s quoted as saying that this play is \u201cnot about science versus religion; it’s about the right to think.”]<\/p>\n Photo by Jeff Lorch, as is the one at the top of this review.<\/p><\/div>\n Knowing not much about the real-life trial prior to my post-show research, (I must have been absent from school that day,) and having never seen the classic 1960 film version of the play, I went into the Pasadena Playhouse\u2019s production with zero expectations.\u00a0 So, re-imagining, modernization, or just a good old-fashioned narrative, I was able to experience the play on a blank slate.<\/p>\n Inherit the Wind<\/em> was penned by the prolific writing team of Jerome Lawrence and Robert E. Lee. I always get a good feeling when I see their names. That\u2019s because they not only are associated with\u00a0Auntie Mame<\/em>, one of my favorite films of all time, (they adapted the original novel into the play that the exquisite movie is based on,) but they also wrote\u00a0The Gang’s All Here<\/em>, which is\u00a0the first play that my teen-age self ever saw in LA,\u00a0on just my second night in town! I can’t imagine that I liked that show, but it was produced at a theatre in what became my beloved UCLA, and it starred Howard Duff, whose family became my good friends over time. So the invitation to this one had me at \u201cLawrence and Lee!\u201d<\/p>\n One thing that’s really interesting about the Pasadena Playhouse’s presentation of Inherit the Wind<\/em> is that, as we were told before it began, not a word was changed from the original script. But the dialogue all sounds modern<\/em>!<\/p>\n And the program doesn’t tell us when this version is supposed to be taking place, so I couldn’t figure it out. The wardrobe* doesn’t help; it’s far from hip and attractive, but the setting is a small bible belt town, so it could actually be now. *[Note: If when you see it, as I did, Abubakr Ali, who plays the defendant, is wearing a mask, that is not part of the costume, as I had thought; it’s just the cast being appropriately cautious, which I totally appreciate.]<\/p>\n Photo by Jeff Lorch.<\/p><\/div>\n And then, reading the notes in the program, I found-out that the original script was written that way on purpose, with the time being ambiguous. How prescient of the writers, so their words can be as relevant these almost-seventy years later as they were back then.<\/p>\n Something that tells us the action could be taking place today<\/em> is what I’ve learned is referred to as \u201ccolorblind casting.\u201d It appears to be very popular these days, and is a wonderful way to create a diverse cast of deserving and beautiful actors. But that casting often makes it unclear if race, age, or gender are part of the intended scenario. For example, in this<\/em> case, at first I didn’t know if the preacher doesn’t want his daughter, (played by adorable Rachel Hilson,) to be with the defendant because they’re an interracial couple, or if there’s a different reason for his anger. (There is<\/em>, of course\u2014her bae is on trial for teaching the theory of evolution, which is the basis of the play!) I kept waiting for one of the characters to mention that race is part of the father’s disdain, but it, happily, never came.<\/p>\n And when the two lead lawyers, one black, one white, (played to perfection by John Douglas Thompson and Alfred Molina,) go at each other, I was concerned that it was going to turn into a race issue. As formerly half of an interracial couple myself, (before it was widely accepted,) the pain of what we went through always comes back to me when I think that’s what I’m witnessing anew. I don’t know how to solve this possibly-confusing casting issue, in general; I’m just letting you all know that race is not even a little part of this tale, so just be colorblind yourself and go with it.<\/p>\n John Douglas Thompson and Alfred Molina. Photo by Jeff Lorch.<\/p><\/div>\n Despite the heaviness of the subject, the play is actually surprisingly full of mirth. I was not aware that Inherit the Wind<\/em> is so funny. The show is amusing for at least three-quarters of it; I don’t know if that was the case for the original, but for some reason, I don’t think so. (I had planned to watch the movie when I got home that night to find-out if it was somewhat comedic back then, too, but then the horrors of today’s<\/em> world, on the news, got my attention instead.)<\/p>\n That humor is provided mainly by Alfred Molina\u2014the show totally picks-up when he arrives on stage. Also very funny is Chris Perfetti, of Abbott Elementary<\/em> fame, as a newspaper reporter. He’s always fun to see. And on TV, I never realized how light on his feet he is! He makes not a sound jumping around the stage, which I totally admire! (But he would scare me if he did it at my house; Mr. X is also stealth, and I’m always taken by surprise when he’s suddenly in my orb.)<\/p>\n Chris Perfetti. Photo by Jeff Lorch.<\/p><\/div>\n The script contains many excellent lines, which most likely were delivered a bit differently than in the 1955 original. But my favorite is, \u201cMurdering a wife is not as bad as murdering an old wives’ tale.” I love that! (And I hope that I jotted it down correctly for you.)<\/p>\n And, although not a \u201cline,\u201d per se, the religious lawyer always calling his wife \u201cMother,\u201d brings Mike Pence vibes. (Perhaps this play is where Mike got that idea to begin with!)<\/p>\n As to the set by Brad Endow, it’s perfectly utilitarian. The tables, chairs, and platforms move easily to different positions, giving every audience member a chance to view something interesting.<\/p>\n Speaking of the audience, Inherit the Wind<\/em> is primarily a courtroom drama, so to that end, the director, Michael Michetti, came up with a couple of clever devices for them. First is that there are seats for ten audience members in the \u201cjury box,\u201d which is in the front of the orchestra, but a bit separated from the next rows behind it. Two of those aisle seats are left open so that a pair of the actors can be \u201cchosen\u201d as \u201cjury members\u201d to go in there.<\/p>\n The other is that there are many, (probably a few dozen, but I didn’t count,) seats on stage in the \u201ccourtroom gallery,\u201d so you can feel a part of the action. To access either of those areas, (which also come at an incredible discount,) go to the Pasadena Playhouse website, the link to which is at the bottom of this review.<\/p>\n The “jury” is those two front rows of the audience, and the “gallery” is partially visible off to the right. Photo by Jeff Lorch.<\/p><\/div>\n Speaking of the jury, I especially enjoyed when the prosecuting attorney in the show objects to \u201clevity\u201d in choosing the twelve men to serve on it. Thank goodness no one in the court did that the one time I<\/em> was interviewed to be on a jury. Even the handsome judge got in on the humor, and when they dismissed me, (there’s a shock,) he said he was sad to see me go. He told me to say hi to everyone in my life\u00a0for him–my boyfriend, my mother, my neighbors, and all my friends the assemblage had come to know from my honest-but-crazy answers to all the lawyers’ queries. If not for him<\/em> accepting levity in that case, I might have been in jail for contempt of court!<\/p>\n I have to let you in on yet another goony thing about me, which is actually about this show. I know it’s totally nuts, but I always think of Alfred Molina when I\u2019m approaching the Pasadena Playhouse because\u2026the theatre is located on\u00a0El\u00a0Molino<\/em>\u00a0Avenue. (I told you that it\u2019s goony.) So I was happy to see him perform there again*, since I was thinking about him that night, anyway! *(Six years ago, Alfred starred in the Playhouse\u2019s stupendous version of\u00a0Miracle On 34th Street<\/em>.)<\/p>\n As much as I did appreciate Inherit the Wind<\/em>, you may know by now that I’m more a fan of lighter, happier entertainment, especially at this time of year. So I’m looking very forward to the Playhouse’s Holiday Spectacular in December, (which is actually just a few weeks away!) Judging by the special touches in their previous<\/em> holiday shows, I have a feeling there will even be snow. I’m getting my mittens ready right now.<\/p>\n Inherit the Wind<\/em>\u00a0running through November 26, 2023<\/strong> INHERIT THE WIND At intermission of Inherit the Wind at the Pasadena Playhouse, my friend said, \u201cTimely,\u201d which I had just written in my notes. This fictionalized version about the 1925 Scopes \u201cMonkey\u201d Trial, written in 1955, does bring to mind today’s political scene. But that’s for others to delve into\u2014I’m not here to teach<\/p>\n![\"Photo](\"https:\/\/itsnotaboutme.tv\/news\/wp-content\/uploads\/2023\/11\/Copy-of-L1010749-scaled.jpg\")
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\n Pasadena Playhouse 39 South El Molino Avenue, Pasadena<\/strong>
\n 626-356-7529\u00a0www.pasadenaplayhouse.org<\/a><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"