A classic roars back to life in new Asolo Repertory Theatre production
When I reviewed Asolo Repertory Theatre’s 2002 production of “Inherit the Wind,” I began by writing: “Imagine a world where no one questioned what they’re told, or took the time to wonder why things are the way they are.”
I had similar thoughts walking out of the company’s new production, which crackles with energy, vibrancy and relevance because it often feels like we’re living in such a world where we can’t agree on the same set of facts or truths.
The 1955 Jerome Lawrence and Robert E. Lee play is inspired by the 1925 Scopes Monkey Trial in Tennessee, but as some cast members tell us, the play “does not intend to be journalism. It is theater.”
And you can’t get much more theatrical than the production that Peter Rothstein, Asolo Rep’s new producing artistic director, has staged. It flows with the ease and grace of the smoothest musical, with movement that appears naturally choreographed and performances that resonate with truth and honesty. It sometimes feels like a musical with all the hymns and spirituals the cast members sing, which tell you a lot about the community where it is set.
But it is the drama of a trial that is at the heart of the play about Hillsboro, Tennessee schoolteacher Bertram Cates, who is being tried for violating a state law banning the teaching of Darwin’s theories on evolution. Only Biblical teachings about creation are allowed.
The small, clearly religious town gives a hero’s welcome to prosecuting attorney Matthew Harrison Brady, the three-time presidential candidate who is a champion for traditional teachings (and based on William Jennings Bryan). Andrew Long plays off that public support, portraying Brady as confident, a bit pompous and formal and always conscious of how he’s being seen by the public and portrayed in the media. (What would he be like in the age of 24/7 television coverage?)
Then comes his opponent Henry Drummond (based on Clarence Darrow), a champion of the underdog who is always willing to take up a case that challenges restrictive laws. Under Philip Rosenberg’s lighting, Drummond arrives bathed in red as if he is the devil himself. As played by Mark Benninghofen, Drummond arrives looking like he’s survived a war – crumpled and sweating. He is prepared for battle in hostile territory, facing a judge (sternly played by David Breitbarth) who rules against him at every turn.
Benninghofen finds humanity and humor in the way he questions one of Cates’ students (adorably played by Finn McBeth), and he employs a more sympathetic touch in talking to the reluctant witness Rachel Brown. She is Cates’ girlfriend, fellow teacher and the daughter of the town’s fire-and-brimstone minister, Rev. Jeremiah Brown, played by Curtis Bannister. Though it was difficult to understand what Bannister says in casual conversations at the start, there is no denying the power and authority he brings to singing a spiritual or delivering a blistering sermon as if possessed.
Sasha Andreev, who played an endearing Tateh in Rothstein’s “Ragtime,” has a terrific flair and a lot of charisma as the cynical and sarcastic Baltimore newspaper columnist who comes to Tennessee essentially to mock the proceedings.
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FSU/Asolo Conservatory students help populate the stage and provide the feeling of a small town. Some also take on significant roles, like Brielle Rivera Headrington, who is sweet and understandably nervous as Rachel, who fears the wrath of her father and anger from others in town. Mikhail Roberts is equally awkward yet stalwart as Cates.
The cast also features Sally Wingert, who was so memorable as Mrs. Lovett in Rothstein’s production of “Sweeney Todd” a few years ago. She is back as Brady’s supportive, loving and caring wife, who knows what’s best for him and how to get him to agree.
The production looks terrific with a set by Kate Sutton Johnson of slatted walls and frames that simultaneously create the image of a local courthouse, church and town square, nicely paired with Fabian Aguilar’s period costumes that look as comfortable as can be in an oppressive heatwave.
Everything works together seamlessly, allowing you to be drawn into the story, the sharply contrasting points of view and the characters who become real before your eyes.
‘Inherit the Wind’
By Jerome Lawrence and Robert E. Lee. Directed by Peter Rothstein. Reviewed Jan. 19. In repertory through Feb. 24. Mertz Theatre, FSU Center for the Performing Arts, 5555 N. Tamiami Trail, Sarasota. Tickets are $35-$95. 941-351-8000; asolorep.org
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This article originally appeared on Sarasota Herald-Tribune: ‘Inherit the Wind’ speaks to our divided times at Asolo Rep
