PicksInSix Review: Inherit the Wind - Goodman Theatre

“THE RIGHT TO THINK ON TRIAL”
PicksInSix® Review | Ed Tracy

The image has all the makings of a Norman Rockwell painting.

The citizens of rural Hillsboro, clustered four-deep in the steamy courthouse, leaning in and transfixed by the sudden turn of events at the trial of Bertram Cates (Christopher Llewyn Ramirez), accused of teaching Darwin’s theory of evolution in his 2nd grade classroom. Leading Cates’s defense is Henry Drummond (Harry Lennix) who is grilling the prosecuting attorney—and his old friend—Matthew Harrison Brady (Alexander Gemignani) on the witness stand about philosophy and scriptures after the judge (Kevin Gudhal) has refused to allow any men or women of science to testify for the defense.

The fiery courtroom interchange between the two men leads to the scintillating climax of the Goodman Theatre’s superb revival of “Inherit the Wind” directed by Henry Godinez that opened Monday. The 1955 play, written by Jerome Lawrence and Robert E. Lee, is a fictionalized account of the 1925 Scopes Trial in Dayton, Tennessee that challenged the Butler Act outlawing the teaching of evolution in the classroom. Indeed, the injustice of suppressing alternate opinions and attempting to eliminate the free exchange of ideas flows throughout the play which explains its universal appeal on stage and in the memorable 1960 film starring Spencer Tracy and Frederic March.

For context, the title refers to Proverbs 11:29: “He that troubleth his own house shall inherit the wind: And the fool shall be servant to the wise of heart.” Exemplified in the overbearing nature of Reverend Jermiah Brown (Ryan Kitley) toward his daughter Rachel (Tyler), who is torn between the love she feels for Cates and her strict religious upbringing, and in the exchanges between Drummond and Brady, “Inherit the Wind” lays bare the differences in the individual beliefs of our existence. Perhaps the most salient point belongs to Drummond, who says: “The man who has everything figured out is probably a fool. College examinations notwithstanding, it takes a very smart fella to say ‘I don’t know the answer!’”

Director Godinez has assembled a stellar cast and creative team around the central characters involved in the trial. Lennix is commanding as Drummond, his folksy charm every bit a match for Gemignani’s swaggering fire and brimstone. Together they are simply terrific to watch. In supporting roles, Lawrence Grimm has a slick featured role as the radio man and among the townspeople in the fine ensemble that includes William Dick (Mayor), Terry Bell (Sillers), Charin Álvarez (Mrs. Brady) and Meighan Gerachis (Elijah). On the fringe of the proceedings is E.K.Hornbeck (Mi Kang), the cynical reporter who is covering the trial. The real life father/daughter team of Christopher Kale Jones as the trial attorney Tom Davenport and  Melinda (Presley Rose Jones) who is the friend of Thomas Murphy Molony’s Howard and Robert Schleifer (Meeker) all deserve special mention.

There is a down-home, natural and overall timeless vision on the creative side of the show that is first-rate. Collette Pollard’s elegant scenic design includes a stunning vista of the Hillsboro skyline above the stage, ever present within a shimmering skylight that mirrors the raked stage surface that serves as both the townsquare and the courtroom. Jessica Pabst’s costume design fits the period nature of the piece perfectly along with Jason Lynch’s crisp lighting and the subtle but effective original music and sound design by Richard Woodbury. While the sense is that the action is occurring at another place and time, this thought-provoking piece reflects the here and now, or for that matter, any instance when the threat to free speech and our personal liberties is so great that we must take an active stand and always seek the truth.  

(Note: An earlier version omitted Robert Schleifer..)      
PHOTO|Liz Lauren

Goodman Theatre
presents
Inherit the Wind
EXTENDED through October 20

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PicksInSix Review: East Texas Hot Links - Court Theatre

Articulate, Impactful ‘East Texas Hot Links’
PicksInSix® Review | Guest Contributor | Ronald Keaton

There is a stellar production of Eugene Lee’s signature play “East Texas Hot Links” playing now at Court Theatre in Chicago through September 29. It is an articulate, impactful play that echoes in one’s mind long after the curtain comes down in its eloquent and painful comment on the remnants of the civil rights movement in America, how it continues to resonate and affect so many of our societal mores.  It bears the unmistakable stamp of the great director Ron OJ Parson, who has a relationship with this piece that forces us, in its sheer professionalism alone, to see an unencumbered view of what Jim Crow has done to our world and continues to do today.

Imagine the mid-1950s in the South—in this case, east Texas—at a small café/saloon back in the “piney woods.”  We are privy to a group of folks who all know each other, whose familiarity is not just palpable, it’s vital for the telling of this story. And this production offers one of the finest presentations of true ensemble acting we will ever see.  The intimate banter, the intuitive approaches in character, the story’s roadmap that is laid out for the cast, enhancing each actor’s planting of their artistic feet by literally grabbing and shaking us. It’s as hard as anything we may have seen in recent seasons at Court.  And it’s all couched in, yes, the love that people can have for each other by pointing out the bad and raising high the good in us.

This cast. The play begins with Kelvin Roston Jr., a Court favorite, as Roy, a man whose checkered past (a trait shared by others here) has made him look at starting over in a more productive way. He’s always had a huge attraction for the owner/bartender Charlesetta (a glowing AnJi White), who keeps him and all the men in the bar constantly at bay. There’s Adolph (Willie B. in a strong portrayal), a blind philosopher of sorts whose gravitas helps steer the conversation. Beside him at his table is Columbus (Alfred H. Wilson is a compelling influence) whose ownership of property gives him a more telling voice.

There’s the formidable AC Smith whose hustler/fortune teller Broochie dominates the story halfway through by a simple reading of the palm of Delmus (a naïve young man given wonderful shrift by David Dowd), a kid with big dreams and plans. Then there’s Buckshot (a dark and yet emotionally delicate performance by Geno Walker) who’s just gotten out of jail and simply trying to find his way.  And there’s Juwan Lockett in a defining portrayal as XL, a man whose instinct for survival overpowers his sense of decency and responsibility to his friends and family.

Little by little, the silence at the beginning of the play—one that is held to observe for a reason—gives way to exchanges between characters that make you listen to the words, other times to their rhythms, all the time to the presence and power of the voices. With the specter of the Klan exerting power all through it, director Parson deftly handles the intensity with the skill of a surgeon. This kind of story telling is indeed his specialty and it’s marvelous to watch.  And it’s a simple, highly effective Jack Magaw set design, this small tavern that offers big story. It’s highly complimented by a soft, layered lighting design from Jason Lynch.

Let us also remember that the setting and locale for “East Texas Hot Links” lives in the wake of Brown vs. Board of Education and Emmitt Till and Rosa Parks and the emergence of MLK in the public eye. This is not just Black history, but American history, no matter any regard for political expedience. These characters are etched so well within these creative walls by Mr. Lee, an August Wilson disciple and accomplished actor/writer in his own right, and expertly guided by Mr. Parson to the ultimate surprise at the end of the play.  Well, unfortunately not a surprise to all, as you will see.  

GUEST CONTRIBUTOR | RONALD KEATON received an Equity Jeff Award for the performance of his one-man show CHURCHILL. www.solochicagotheatre.com  Coming soon, his new solo play “Echo Holler.” www.echoholler.com

PHOTO|Michael Brosilow

COURT THEATRE
presents
East Texas Hot Links
5535 S Ellis Ave.
through September 29, 2023

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PicksInSix Review: THE WATSONS GO TO BIRMINGHAM - 1963

SUPERB ENSEMBLE, STORY DRIVE POIGNANT ‘WATSONS’

Christopher Paul Curtis’s 1995 historical novel, The Watsons Go To Birmingham – 1963, the source material for Cheryl L. West’s remarkable new play, now in a world-premiere production at Chicago Children’s Theatre, recounts the travels of the African-American Watson family on a road trip from Flint, Michigan into Birmingham at one of the turning points of the civil rights movement: the Sixteenth Street Baptist Church bombing on September 15, 1963, which caused the senseless murder of four young girls preparing for church services, ignited national outrage and galvanized efforts to support the 1964 Civil Rights Act.

Curtis’s work first came to the attention of director Wardell Julius Clark when he was a sixth grade student in Fairfield, Alabama, and it became a deeply personal story as his mother had longtime connections with the family of Denise McNair, one of the victims of the tragedy. West’s beautiful adaptation appeals to young and old with an insightful view of what happens when generational awareness intersects with childhood innocence. Clark’s carefully crafted production, infused with an evocative original score by Paris Ray Dozier, results in an atmosphere ripe for understanding and discussion about the serious emotional impact of racism on children. 

The Watson family story centers on the coming-of-age experiences of young Kenny Watson (Nelson Simmons), the smart and inquisitive middle child of Mama (Sharriese Hamilton) and Daddy (Bear Bellinger) Watson. The Watsons are loving, attentive parents, but become concerned when Kenny’s rebellious older brother Byron (Stephen “Blu” Allen) skips school with his pal Buphead (Ian Paul Custer) and tries to get Kenny to cover for him. So, Daddy and Mama pack up the “Brown Bomber” with the boys and their youngest daughter, Joey (Lyric Sims), and head off for Birmingham to deliver Byron to live with his Grandma Sands (Deanna Reed-Foster).

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Mama has carefully planned a three-day excursion, but Daddy decides that it will be better for everyone if they stop along the way as little as possible. This presents logistical problems, of course, and also allows for a disturbing confrontation to occur along the way. Upon arrival, Grandma Sands waits with open arms—and a dire warning that ultimately proves to be a bonding experience for the young boys and sets the stage for a series of skillfully executed moments of drama later on.

The family relationship that the two fine actors Hamilton and Bellinger create together and with their children is touching and real. As the narrative voice of the play, Simmons’s Kenny relates to every young person who struggles to cope with events as they unfold, aided by the fine work of Allen as the self-centered older brother who has his own issues. Sims is as disarmingly sweet in the role of the youngest Watson as Reed-Foster is as Grandma, with the talented Custer playing multiple roles. Scenic design by Arnel Sancianco, with lights by Jason Lynch, costumes by Izumi Inaba, sound by Kevin O’Donnell and projections by Smooch Medina evoke the open highway for the trip to Birmingham and events in the youthful experiences that Kenny tries to process and overcome.

Opening a door for discussion with children of all ages, the Watson family in West’s moving production bursts with heart and understanding–as when providing comfort to Kenny, Grandma compares the strength of family to endure hardships like the roots of trees that “no matter what’s coming at ’em, keep these trees standing strong and standing tall for years on end”—one of many valuable lessons that run deeply through this poignant work.

Casting Note: Jeremiah Ruwe (Kenny) and Jillian-Giselle (Joey) share performances for this production.

PHOTOS|Charles Osgood

CHICAGO CHILDREN’S THEATRE
Presents
THE WATSONS GO TO BIRMINGHAM —1963
weekends through May 19th
The Station
100 South Racine Avenue
(872) 222-9555

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