Many pairs of eyes and ears have witnessed the script of “Inherit the Wind,” a dramatic retelling of the Scopes Monkey Trial — the unprecedented historical trial in which a school teacher was arrested for teaching Darwin’s Theory of Evolution in a small southern town with a strong religious following.
This event was the first radio-broadcasted trial in world history, carrying a message of freedom of mind over personal bias. The entire world was watching this trial, making it seem like the audience themselves were the jury in this battle of political giants. So naturally, the case had to go and become one of the best plays of all time.
Goodman Theatre’s production of “Inherit the Wind” immediately showcases the quality of the production through its set design. A block of miniature buildings sits on a hanging wooden halo looking down on Hillsboro, Tennessee. The slanted circular stage platform mimics a compass, representing a battle of polarizing views, with no way for the audience to determine which way points forward.
Among its other strengths, “Inherit The Wind” soars with its compelling characters who make their contrasting views abundantly clear from their very first scenes.
The two who demonstrate the most differences are Matthew Brady, a radically religious presidential candidate (Alexander Gemignani) and E.K. Hornbeck, a smartmouthed liberal reporter (Mi Kang). Everything about these two is different. Hornbeck literally bites into an apple and jokes about it being the fruit of knowledge, while Brady asks for lemonade from the townspeople. Sweet and sour. Their fighting never stops.
The voice of reason is found in the protagonist, a defense lawyer from Chicago named Henry Drummond (Tyler Meredith). He embodies the spirit of progression and freedom of thought. Drummond comes to trial not for the money, but to send a long term message of the importance of thinking for yourself and taking all voices into consideration. By contrast, it is clear that Brady is not on the prosecution out of a need for money, but likely to bolster his political campaign.
The words “inherit the wind” – a reference to a line from the book of Proverbs – are spoken twice – the context in which the words are spoken gives them their meaning. hen one of the characters endangers a family member, Brady says, “He who troubleth his own house shall inherit the wind,” using the biblical passage to diffuse a situation and gain him support from the community.
When Drummond says the title in the final scene of the show, he says the passage in full, adding “…and the fool shall be servant to the wise of heart.” Brady misunderstood the meaning of the passage, only retaining one half of the sentence, but by interpreting both pieces of the line – and the argument at trial – Drummond understands the passage.
On top of being an engaging and witty script with detailed characters, every aspect of the 70-year-old show is done to near perfection. Every issue I held with content like the movie and other retellings of the story are repaired or elaborated on.
I’d go as far to say that Goodman Theatre’s version of the play is the best adaptation yet (yes, better than the four-time Oscar nominated movie). The stage play version trims all the fat that the film had, along with recontextualizing already potent plot beats for a modern audience.
With a generational undertone of children carrying on a positive legacy, and its themes of political urgency, “Inherit The Wind” is a must-see for any audience, especially with an upcoming election. While you’re searching for answers, it might be beneficial to catch one of the best versions of this classic story – perhaps the best one yet.
“Inherit The Wind” can be seen at Goodman Theatre until October 20.
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