Theater review: Inherit the Wind at HART

Rarely does a production transcend the level of great expectation so far that it might as well take to the sky. But Haywood Arts Regional Theatre’s staging of Inherit the Wind does just that.

Written by Jerome Lawrence and Robert E. Lee, the play is loosely based on the 1925 court case known as the Scopes “Monkey” Trial, which took place in Dayton, Tenn. Accounts say the town was motivated by the spectacle — that it would ultimately be its claim to fame. And they were right. The vintage courtroom potboiler is showing at HART for its 40th anniversary season through Sunday, Aug. 25.

Although considerable liberties were taken with the historical record, the town’s conviction to get on the map is reflected throughout Inherit the Wind. Imagine for a moment giving up life as you know it for the sake of awareness. Southern schoolteacher Bertram Cates (played by Charlie Wilson) makes that sacrifice when he submits himself to a trial he could have truncated. Cates is accused of violating a recent state law that was passed forbidding teaching Charles Darwin’s theory of evolution in public schools.

In come two flagship attorneys to grandstand the case. The prosecutor Matthew Harrison Brady (Pasquale LaCorte) is a three-time U.S. presidential candidate and has a following that precedes him. The majority of the town is on his side by the guidance of the fire and brimstone Rev. Jeremiah Brown (realistically portrayed by Troy Sheets). Fueling his flames is the fact that Brown’s own daughter Rachel (Mary Weisgerber) is dating Cates. Whose side should she stand on?

Meanwhile, with the start of the trial hanging in the balance, the well-known defense attorney Henry Drummond (Andrew Beachum) arrives on the late train and is immediately dubbed “the devil” by townsfolk. Does he have a fighting chance at opening the minds of those ignorant residents looking for a rush to judgment? The “catch” is both Brady and Drummond are old friends with viewpoints that now oppose. So, is this trial really about justice or egotistical opposition?

To this day, the very mention of Darwin and evolution crosses a threshold of controversy and conjures up searing thoughts of humans being derived from monkeys. In turn, the playwrights had a bit of trouble getting their work staged on Broadway. Had they given in to the initial rejection, it may never have seen the light of day. However, after its successful 1955 run in Dallas, it gained momentum, and eventually opened on Broadway, becoming a major hit. The 1960 film version, starring Spencer Tracy, went on to receive multiple Academy Award nominations.

Inherit the Wind leans mostly one-sided in its viewpoint. The play wants us to see the fault in those not open to difficult discussions. Therefore, in the wrong hands, this material could have resulted in political showboating of the highest order. Yet the temptation for Southern stereotypes is kept at bay, and what we find is a more respectful interpretation.

When you enter the Belle and Daniel Fangmeyer Theatre, you immediately feel as if you have stepped into an old-fashioned courthouse. Some guests were even lucky enough to sit in the jury seats and become part of the play. Clever nuances like this detail make the rawness of director and set designer Terry Martin’s passion distinct. And while there were a few very minor flaws — mostly in the transition of shorter scenes and distracting music that feels like TV theme tunes — this production is truly outstanding. Martin’s dedication to wrangling such powerhouse performances from many of the actors is paramount to the success.

On this particular night, the part of Brady was played by LaCorte, though some performances include David Spivey. It is inconceivable that it could be played in better hands than LaCorte’s. However, seeing both performances would be intriguing as it may be a different show entirely. The character’s gnawing subterfuge is brilliantly depicted by LaCorte, and this performance should be considered a feather in the cap of his long career on stage.

Yet, words seem to fail when describing the utter satisfaction of watching the tour de force performance given by Beachum. He mounts the climactic scene with such rapid-fire intensity that you’re awestruck by the density of his emotions. It sends shivers just recalling it. His quieter moments are just as compelling — without him, this production would have still been excellent but not astounding. Beachum’s performance here is a study in great theatrical acting that won’t be whisked away from memory anytime soon.

Other players follow suit with remarkable portrayals such as Kathy O’Connor as the slithery, omnipresent reporter E.K. Hornbeck. Weisgerber nails the mousey, indecisive, small-town Rachel, who’s stuck by her own devices, and a revelation occurs when Vicki Mangieri’s Mrs. Brady steals a well-deserved moment with Rachel by letting out an unexpected fury.

Elsewhere, Garek Carpenter shows promise as Howard Blair, the little boy whose mind is forever awakened by his teacher’s ideas of evolution. And the fiery-locked Emmy-Mae Speakman proves entrancing in a small role as Sillers — one of the witless jury members.

It’s unlikely that you are going to see another play as enthralling as Inherit the Wind anytime soon. To say it is “not to be missed” is an understatement. Unfortunately, other theaters have recently seemed to veer away from dramas in favor of an overabundance of frothy escapism, so bravo to HART for producing a moving play rarely staged these days. Bold moves like these keep the theatrical art form alive and thriving.

We all have memories of those plays we regret not seeing — don’t make this one of them. Inherit the Wind has the power to stir a storm within oneself.

WHAT: Inherit the Wind
WHERE: HART’s Fangmeyer Theater, 250 Pigeon St., Waynesville, harttheatre.org
WHEN: Through Sunday, Aug. 25. Thursdays-Saturdays, 7:30 p.m.; Sundays at 2 p.m. $18-38.