Inherit the Wind

There is a fine line between actual fact and what one believes to be true. No, I'm not paying homage to "Seinfeld," character George Costanza, who quipped, "It's not a lie, if you believe it," nor am I passing judgment on the current political climate, where the truth is seemingly relative.

Ocean State Theatre Company's sensational production of Jerome Lawrence and Robert Edwin Lee's courtroom drama, "Inherit the Wind," does not attempt to argue or explain what is true or false, but rather whether we have the right believe something is fact or fiction.

Written in 1955 on the heels of the McCarthy era, "Inherit the Wind" was inspired by the 1925 Scopes Monkey Trial, when John Scopes, a Tennessee high school teacher, was tried and convicted for teaching Darwin's theories of evolution.

Under the stellar, sharp direction of Fred Sullivan, Jr., "Inherit the Wind" takes places in the small town of Hillsboro, where a young science teacher, Bertram Cates (Mark Dante Mancini), is jailed for unlawfully daring to suggest that man evolved from apes. His criminal behavior attracts the attention of prosecutor Matthew Harrison Brady (Brandon Whitehead), a bible-bullying, three-time presidential candidate, modeled after William Jennings Bryan.

Defending Cates is attorney Henry Drummond (Tom Gleadow), a firm believer in intellectual freedom, based on Clarence Darrow, and cynically reporting this history-in-the-making event to the world at large is Baltimore Herald staff writer, E.K. Hornbeck (Steven Liebhauser).

Whether or not there is any validity to the controversial subject matter makes no difference in the court of public opinion. The townspeople are very much in awe of Brady and appalled by Drummond, and they need no trial as proof of Cates' guilt, much to the chagrin of his fianc�e, Rachel (Nora Eschenheimer), who is also the daughter of the town's reverend, Jeremiah Brown (Chris Perrotti).

Unlike most courtroom dramas, the anticipation of the jury's decision is not the dominant driving force of this compelling (and still eerily relevant) work, but rather the intense, passionate interplay between the opposing attorneys, and both performances are phenomenal.

As the loose cannon Brady, Whitehead flawlessly personifies an evangelical preacher, unapologetically unwavering and proudly persistent when pressed on his absolute interpretation of scripture. The actor's towering presence coupled with his blaring diction make for the most formidable of opponents.

Gleadow's upstanding Drummond is as much a force as Brady to be reckoned with, armed with scientific fact, but more importantly, the inherent faith in one's ability -- and divine right -- to think freely. His earnest yet anxious disposition, combined with his eloquent delivery, perfectly convey his character's unbridled passion.

Mancini delivers a fine, dignified performance as Cates, Eschenheimer is impressive and unrestrained as the conflicted Rachel, and Liebhauser skillfully provides comic relief with his candid commentary as the unashamedly aloof Hornbeck.

Erik Diaz's striking set has an open air effect with the haunting implication that all eyes are on this courtroom, where the ensemble cast gathers to voice their opinions, and even occasionally break out into song.

With its timely, captivating script and outstanding performances, OSTC's "Inherit the Wind" is mesmerizing, must-see theater.

"Inherit the Wind" runs thru April 16 at Ocean State Theatre Company, 1245 Jefferson Boulevard in Warwick. For information and tickets, call 401-921-6800 or visit www.OceanStateTheatre.org