| As we prepare for the opening of Inherit the Wind we are delighted to see how our audience has embraced this wonderful play which over the years has matured both in theme and in stature. First produced in 1955, 30 years after the Scopes Trial upon which it was based, it is becoming even more haunting in its prescience and fairly glowing in resonance and currency. This week the cover of Time Magazine bears the image of a monkey and features a story on the central argument of Inherit the Wind—and so the stars seem to align, approaching the opening. Though we are excited that it is so topical and seemingly fresh, it is so frustrating that the reason for producing this play is still foremost in our minds. 81 years later we are still struggling for educational freedom and equality, for the right to rigorous thought and inquiry. It is astonishing and puzzling to say the least. In some cities where Inherit the Wind has been recently produced, there have been schools that canceled their field trips to see the play because of its themes and the controversy it raises. We have not had that experience here, in fact I am happy to say, our Star matinees are overbooked.
What is so delightful for me and for our creative team, Jessica Thebus our director and Rosie Forrest our dramaturg, is how our subscribers are clicking into the piece. This is the most thrilling part of my job, seeing the newly mounted production take shape and gain momentum as the hard work of the rehearsal room begins to feel easy and effortless and the play emerges seamlessly; it begins to feel as if it is happening for the first time on our stage. It is theatrical magic, and Jessica's exciting minimalist staging is truly magical. Spare, lean, and sinewy, the work feels raw and muscular, and the arguments of the dialectic feel taught and vibrant.
I can't wait to hear what you think.
More Anon,
Beej
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