Thoughts on a Play Curmie Hasn't Seen

Henry Drummond (Billy Eugene Jones) interrogates
Matthew Harrison Brady (Dakin Matthews)
in the Arena Stage production of Inherit the Wind.

The Jerome Lawrence and Robert E. Lee classic Inherit the Wind has played an important role in Curmie’s life more than once.  He first encountered the play when he was in high school, at a time when he began having real doubts about organized religion in general and Christianity in particular.  Of course, this was in the early ‘70s, a time of turbulence in American society in general—the Vietnam War, civil rights, what was then called “women’s liberation,” campus protests, drug culture…  Not all of those things had much of a direct effect on Curmie, but what had always been taken for granted was increasingly being questioned.

The play, of course, was based on the “Scopes Monkey Trial” in Tennessee in 1925.  The irreverence of Henry Drummond, the Clarence Darrow character, shows towards Matthew Harrison Brady (William Jennings Bryan) really caught Curmie’s attention.  He was particularly fond of the bit about where Cain’s wife came from: “Figure somebody pulled off another creation, over in the next county?”  That’s the kind of snark that appealed a lot to an adolescent who wanted desperately to be rebellious but couldn’t quite handle the social discomfort.  Fifty-something years later, Curmie still approves.

Above all, though, Curmie was introduced to the idea that drama can be about something, not just pretty words or an engaging story.  He hadn’t put all the pieces together yet, but this play was indeed destined to play a role in Curmie’s career choices, especially the willingness to explore the more academic side of the business after it became clear that he had more intellect than acting talent.

Speaking of which…  A few years later, in the summer between his freshman and sophomore years of college, Curmie auditioned for a production of Inherit the Wind in the summer season of the local college, whose theatre building was literally across the street from his house.  He was cast, not in the role he wanted, but cast.  His role may be the most difficult he’s ever played: not because it was a lead (Curmie has had a couple, though not many), but precisely because it wasn’t.  Part of the difficulty was, no doubt, to Curmie’s inexperience; things would certainly have been easier had he had a few more shows behind him before essaying the part. 

But a good deal of the struggle came from the role itself.  Curmie played Harry Y. Esterbrook, the announcer for WGN radio in Chicago.  In the trial scenes, which are at the center of the play, Esterbrook is on stage, facing the audience, every moment.  All those clichés about how “acting is reacting” were certainly true for that part.  Curmie had very few lines to hide behind or build a character around, and it was one of those roles that can’t really help the show, but sure can hurt it.

But what Curmie really got out of the show was something different.  He had no choice but to watch the other actors, and indeed really to pay attention to them.  While Esterbrook was watching Drummond or Brady or Hornbeck (the H. L. Mencken character), Curmie was watching actors more skilled—whether by experience, talent, or both—than himself.  He noticed the difference between standing on the line and before it, the subtle but noticeable turn of the head that set up a moment, the pause that made the audience listen more intently to what followed.  He also listened to the director, who was excellent in some ways but given to rants… and he saw the veteran actors pretty much ignore these outbursts.  If you’re screaming all the time, it doesn’t matter that you’re screaming now.  That applies to life in general, of course, but especially to the stage.

Curmie got better as an actor, in large part because of that show: not good enough to make a living at it, but he did play a few featured role in student productions as an undergrad and even a couple of leads in amateur productions after graduation.  But without even contemplating the possibility that he might someday be a director, he learned a great deal from the experience of Inherit the Wind about how to do that job, too.

It is ironic, to be sure, that whereas Curmie did indeed end up acting in a couple dozen more plays and directing 60 or so over the course of his career, his job was as a theatre scholar, and it wasn’t until years after being in that production of Inherit the Wind that he realized that the play is about the Scopes trial in very much the same way that The Crucible is about the Salem witch trials of the late 17th century: in other words, as a stand-in for something else.  In both cases, that “something else” was the anti-communist fervor exemplified by investigations by Joseph McCarthy et al. in the Senate and HUAC in the House.  Whereas Arthur Miller concentrated on the false accusations, Lawrence and Lee were more about the suppression of ideas, but the two plays end up in pretty much the same place, and do so in similar fashion, by creating a fictive world that approximates but does not reproduce historical events.

Cates, of course, is found guilty.  His fine has been paid, but he has no future in this small Tennessee town.  Drummond recognizes this, but provides a bit of context: “You don’t suppose this kind of thing is ever finished, do you?  Tomorrow it’ll be something else—and another fella will have to stand up.  And you’ve helped give him the guts to do it!”  We are left with the confidence that Cates, probably more than the IRL person on whom he is based, will be fine.

While it is a little embarrassing that Curmie took literally years to figure out that a play written in the immediate aftermath of the McCarthy era might just be about something more than just a 30-year-old trial in Tennessee, at least he’s perceptive enough to notice that there’s a reason for theatre companies in 2026 to choose this particular chestnut.  Being that “next fella” matters, especially as attempts by the right to suppress any expression they don’t like are springing up faster than zits on prom night.  

Curmie started to list the cases he’s written about just in this academic year, but that list got really long.  A couple of highlights, then: the cancellation of a student-directed play because there are… you know… <whispers> gay people in it; the professor who was fired and the retired cop who was charged with a felony (!) for posting memes insufficiently hagiographic about Charlie Kirk (certainly far less celebratory than Dear Leader’s recent outburst about the passing of Robert Mueller); the Texas A&M philosophy prof who was forbidden to assign a passage from Plato, and his colleague from a different department whose class was cancelled after it had already met because he couldn’t predict which specific days class discussion might veer into territory the censorial regime didn’t like.  And on and on. 

Plus, of course, we should mention the various felonies committed by ICE/DHS/whoever against citizens exercising their 1st Amendment rights, including but by no means limited to the murder of Alex Pretti.  Plus, of course, all of those incidents that Curmie posted about on his Facebook page but never wrote about… and the hundreds (no doubt) that Curmie never even heard about.  Yeah, it’s time for a production of Inherit the Wind, which, of course, also highlights the dangers of cherry-picking which sections of the Bible should form the foundation of a weltanschauung and which can be readily ignored.

So… anyway… there is such a production at Arena Stage in Washington, DC, presented in cooperation with Seattle-based The Feast company (director Ryan Guzzo Purcell is the founder of The Feast).  It is a trimmed-down version: there must have been a couple dozen actors in the production Curmie was in; this one has only ten, with a lot of doubling and only a sprinkling of jurors on stage at any given moment, for example.  As might be expected, this is a show created by Woke Folk: Drummond is black; Hornbeck is female (one presumes that the company got approval from the rights-holders for this change); the cast is listed alphabetically in the program, which also includes a land acknowledgment.  <Sigh.>

Curmie’s dear friend Paul Webb reviewed the production on his blog, which, Gentle Reader, if you’re a theatre-goer in the DC area, you should bookmark.  Paul touches on some curious choices in terms of time period: both in terms of costumes and, for example, the presence of a 50-star American flag, which strikes Curmie as more likely intentional than lazy (but he doesn’t totally reject the latter as a possibility).  A couple of other choices were curious: giving Brady, a Nebraskan, a southern drawl and even putting him in a white suit that make him look like a refugee from a KFC commercial for at least one scene, for instance.  (Bryan was from Illinois,)

Over at Ethics Alarms, Jack Marshall declares the production “stupid,” a “travesty,” and “absurd,” among similar endearments.  Is he right?  Up to a point, yes.  Part of the play’s appeal stems from the audience’s recognition of the historical reference: at some level, Bert Cates is John Scopes, Henry Drummond is Clarence Darrow, etc., and there’s no way some of what happens in this production could have occurred in the real world: no rational defendant would hire a black lawyer in Tennessee in 1925, for instance… not to mention the fact that the author of the textbook in question used evolution as a means of supporting eugenics and the alleged superiority of the white race, and it’s rather unlikely that a black man would be much interested in taking up that cause.

But this is a fictionalized version of events, not a literal re-telling with the “names changed to protect the innocent,” à la “Dragnet.”  For example, Bert Cates may be dating the preacher’s daughter, but John Scopes wasn’t; the locals may have been hoping Scopes would be convicted, but they weren’t hostile towards the outsiders (they welcomed the visitors who were spending money in their town); Bryan didn’t die until several days after the trial, in his sleep, not mere moments after the verdict was announced.  

Lawrence and Lee altered the story to make it more theatrical, in the same way that Shakespeare played fast and loose with his history plays.  (Curmie spent a very long time indeed re-learning the actual events of the Plantagenet and Tudor eras after first reading about them in plays like Henry V and Richard III.)  The changes wrought in Inherit the Wind tend mostly to increase the tension, making things more difficult for Cates: he has become more of a pariah in the community, and his personal and professional lives are more in conflict with each other.

What appears to have happened in the Arena production is to exaggerate these departures from history per se and their effects even more.  Without having seen the play in production, Curmie is loath to proclaim these changes successful or otherwise, but he suspects he’d have felt preached at and/or condescended to.  It’s important to note here that changing the time period, or the race and/or sex of a character aren’t inherently problematic: Curmie has indeed done all of the above, usually because there just wasn’t a good enough male actor or white singer or whatever.  Such problems are unlikely to present themselves in a professional production in Washington, DC.

In all probability, the squishiness of the time frame is intended to make the audience think about how this play, written over 70 years ago and referencing events of 30 years before that, is relevant to today’s world.  Curmie doesn’t think that’s necessary; rather, he’s going to trust the audience’s perspicacity (and his own story-telling ability) to make those connections without artificial assistance.  One of the essential elements of theatre is audience superiority: not just “I see what you did there,” but “and I saw it before the people in the row in front of me did.”  Whether a 50-star flag helps or hurts this process probably varies by spectator as well as by production choices.  (It would be interesting to know which came first: the decision to cast a black Drummond, necessitating the time change, or the time change, allowing a black Drummond.)

But all of this dances around the central issue: there’s a professional production of Inherit the Wind out there!  Curmie would definitely go if he was in the area, but there are four screen versions, including three that seem to be available on Tubi: the original 1960 film with a host of recognizable actors led by Spencer Tracy as Drummond and Fredric March as Brady (this is the only one Curmie has seen; it’s really good); a 1988 TV version with Kirk Douglas and Jason Robards; and another TV version, this one from 1999, with Jack Lemmon and George C. Scott.  Curmie might just have to check one of these out before long…