Review: INHERIT THE WIND at Asolo Reperatory Theater

While it is not intended to be a historical account of any occurrence, Inherit the Wind was inspired by the Scopes “Monkey” Trial of 1925(referred to as the most important trial of the 20th century). Thirty years later, in 1955, Jerome Lawrence and Robert E. Lee, wrote "Inherit the Wind" to draw parallels between the Scopes Trial and McCarthyism. According to Lawrence, "we used the teaching of evolution as a parable, a metaphor for any kind of mind control. It's not about science versus religion. It's about the right to think." The play pivots on the idea that truth cannot exist without freedom of speech and thought, and that mutual respect for privately held beliefs is more valuable than social or political correctness.

The play Inherit the Wind takes its name from Proverbs 11:29, “He that troubleth his own house shall inherit the wind: and the fool shall be servant to the wise of heart”. The intent of the play's title is to undermine the strict interpretations of the fundamentalists who condemn. In the duration of the court case, the fundamentalists “win”, but it is a hollow one, as the fine is $100! The real triumph belongs to moral victory and freedom of thought.

Inherit the Wind opened in Dallas, after being rejected by 8 Broadway producers. After rave reviews in Dallas, it was picked up by Broadway’s National Theater in April 1955. It played through 1957 and closed after 806 performances and won 3 Tony Awards. The original cast included Tony Randall, Paul Muni and Ed Begley. The play was revived twice, the first time in April 1996 starring George C. Scott. The second revival was in 2007 and starred Christopher Plummer and Brian Dennehy. In 1960, Inherit the Wind was turned into a film directed by Stanley Kramer starring Spencer Tracy, and Gene Kelly and the film was nominated for 4 Academy Awards.

Asolo Repertory Theater takes this high precedence and brings it a step above! Opening with a bare stage, the ensemble cast introduces the story of Inherit the Wind as fiction, while behind them the stage comes to life. The innovative set, magnificently created by Kate Sutton-Johnson, turns from a down home country corner sing along spot to a courtroom with a simple turn.

The casting of Andrew Long, as the anti-hero Matthew Harrison Brady, is absolutely perfect. He plays the gluttonous southern gentleman that cannot turn down a plate of homemade food at every turn, which ends up being his own demise. Mark Benninghofen is the hero of the story Henry Drummond, a disheveled Chicago lawyer. Benninghofen’s intonation and disposition brought me back to my Chicago roots and I recognized many of my lawyer friends in his portrayal of this character.

While the matter of this play is very serious and poignant, the ensemble ties the scenes together with uplifting spiritual Christian hymns. These interludes set the rural tone of the play and imposed some reverence for the southern traditional Christian views. While there is some juxtaposition to having the beliefs of the Bible shoved upon education and learning, there is also some beauty in the camaraderie of faith and the community that stems from religion. It is not if it is true or not, but rather to have the choice to believe to think it is. This story is timeless, as we continue to face the meaning of right and wrong as a society.

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