De Lancie as Q the prosecutor---now he's Darrow for the Defense...
Monday, October 17, 2005
John de Lancie Gets A Hand (A Qticle)
A Qticle, get it? What’s wrong---too Qte?
Okay, let’s get serious. John de Lancie appeared on stage in the L.A. Theatre Works production of The Great Tennessee Monkey Trial for the first time, to a capacity crowd here in Arcata, CA. He played legendary attorney Clarence Darrow, who defended John Scopes in the famous 1925 trial concerning the teaching of evolution in schools. His antagonist was the acclaimed orator and presidential candidate, William Jennings Bryan, played by Edward Asner.
L.A. Theatre Works produces plays for audio: for live radio in its “The Play’s the Thing” series, and other productions for schools and libraries, all available on tapes and CDs. These productions range from audio versions of contemporary and classic plays to adaptations of famous novels (including its first production, a 14-hour version of the Sinclair Lewis novel, Babbitt) and docudramas. The very impressive catalog of its offerings can be found at its website.
Not only is this a tremendous cultural resource, but the audio format makes it easier for hard-to-schedule Hollywood actors to do great parts. They get to play characters other than cops and criminals, and we get to hear familiar voices interpreting the best drama and literature, and dramatizing the great issues of our time.
Star Trek actors are among them: Rene Auberjonis is heard in Arthur Miller’s The Crucible, Armin Shimerman in Twelve Angry Men, Paul Winfield in Ruby McCollum, Alice Krige in Ronald Harwood's Another Time, and Gates McFadden in Neil Simon’s Chapter Two. Gates is also in the almost all-Star Trek production of H.G. Wells’ The War of the Worlds, along with Leonard Nimoy, Brent Spiner, Wil Wheaton, Dwight Schultz and Armin Shimerman.
John de Lancie, who co-founded “Alien Voices” with Leonard Nimoy, and acted, wrote and directed several of its audio productions based on classic science fiction stories (including several others by Wells) is also heard in several Theatre Works plays.
I first saw de Lancie's impressively tall form and calm but focused gaze in one of the corridors outside the studio theatre on the Humboldt State University campus, where some members of the traveling company were assembling for an informal workshop with theatre students on the afternoon before their first performance. He was signing a hardback copy of a Q novel for a teenage boy accompanied by his father. It turned out to be more than a fan---he was a local resident named Bo Banduci who would be performing in the play itself. But he certainly was a fan, judging from the big smile he wore as he left.
A Qticle, get it? What’s wrong---too Qte?
Okay, let’s get serious. John de Lancie appeared on stage in the L.A. Theatre Works production of The Great Tennessee Monkey Trial for the first time, to a capacity crowd here in Arcata, CA. He played legendary attorney Clarence Darrow, who defended John Scopes in the famous 1925 trial concerning the teaching of evolution in schools. His antagonist was the acclaimed orator and presidential candidate, William Jennings Bryan, played by Edward Asner.
L.A. Theatre Works produces plays for audio: for live radio in its “The Play’s the Thing” series, and other productions for schools and libraries, all available on tapes and CDs. These productions range from audio versions of contemporary and classic plays to adaptations of famous novels (including its first production, a 14-hour version of the Sinclair Lewis novel, Babbitt) and docudramas. The very impressive catalog of its offerings can be found at its website.
Not only is this a tremendous cultural resource, but the audio format makes it easier for hard-to-schedule Hollywood actors to do great parts. They get to play characters other than cops and criminals, and we get to hear familiar voices interpreting the best drama and literature, and dramatizing the great issues of our time.
Star Trek actors are among them: Rene Auberjonis is heard in Arthur Miller’s The Crucible, Armin Shimerman in Twelve Angry Men, Paul Winfield in Ruby McCollum, Alice Krige in Ronald Harwood's Another Time, and Gates McFadden in Neil Simon’s Chapter Two. Gates is also in the almost all-Star Trek production of H.G. Wells’ The War of the Worlds, along with Leonard Nimoy, Brent Spiner, Wil Wheaton, Dwight Schultz and Armin Shimerman.
John de Lancie, who co-founded “Alien Voices” with Leonard Nimoy, and acted, wrote and directed several of its audio productions based on classic science fiction stories (including several others by Wells) is also heard in several Theatre Works plays.
I first saw de Lancie's impressively tall form and calm but focused gaze in one of the corridors outside the studio theatre on the Humboldt State University campus, where some members of the traveling company were assembling for an informal workshop with theatre students on the afternoon before their first performance. He was signing a hardback copy of a Q novel for a teenage boy accompanied by his father. It turned out to be more than a fan---he was a local resident named Bo Banduci who would be performing in the play itself. But he certainly was a fan, judging from the big smile he wore as he left.
De Lancie didn’t actually take part in the workshop (he looked in occasionally, but mostly prowled the corridors with his cell phone.) But those who did---including director Gordon Hunt, narrator Alley Mills (a classically trained actor and currently a volunteer caseworker for disaster relief at the American Red Cross, best known as Norma Arnold on The Wonder Years)—explained how this particular production came about.
Because the L.A. Theatre Works does some of its radio plays before a live audience, there was interest in touring such a production, so people could see what a radio play looked like. They discovered that their most requested recording from high school teachers throughout the nation was “The Great Tennessee Monkey Trial,” written by Peter Goodchild using the actual Scopes Trial transcripts. So, on the 80th anniversary of the original trial, an 18-week tour of 23 locales was organized, which will take this production to Nashville, Omaha and Fayetteville, Arkansas as well as Los Angeles and suburban Washington.
Some actors would come and go, so some audiences would be seeing Marsha Mason, Mike Farrell and—replacing John de Lancie as Darrow, James Cromwell: Zephran Cochrane for Q.
It would also be seen on the Penn State campus at University Park, just a few hours up the highway from Dover, PA, where another trial involving the teaching of evolution in schools was going on as we gathered to discuss this production.
The assembled participants stressed that the production was not one-sided. Certainly the teaching of science, and keeping religious views separate from science education, was the core issue. But they talked about the principles and the fears that Bryan represented---the idea that to him and others, Darwinian evolution symbolized the threat of a soulless society, without human values. In some venues, the production would be followed by discussions involving experts and prominent voices in that community.
After the workshop I talked briefly with director Gordon Hunt about actors and voices. He said that with all the emphasis on the visual, younger actors were not getting enough vocal training. Even theatrically trained actors often lack the skills to act with their voices.
This is an often-overlooked element in Star Trek’s success: distinctive and powerful voices, and actors who used them well. It’s part of Star Trek’s debt to theatre and even to radio.
I also talked with actor Kevin Kilner, who hopes to produce a documentary about this tour. We continued our conversation as they all left the studio theatre. Outside, as the vans pulled up to take them away, I noticed John de Lancie and Edward Asner standing together. I knew I had only a few minutes before they left, so I had to make a painful choice: do I talk to Lou Grant (Mondays at 10 will always be sacred because of him) or to Q?
It was you, dear readers, who decided it for me.
Because the L.A. Theatre Works does some of its radio plays before a live audience, there was interest in touring such a production, so people could see what a radio play looked like. They discovered that their most requested recording from high school teachers throughout the nation was “The Great Tennessee Monkey Trial,” written by Peter Goodchild using the actual Scopes Trial transcripts. So, on the 80th anniversary of the original trial, an 18-week tour of 23 locales was organized, which will take this production to Nashville, Omaha and Fayetteville, Arkansas as well as Los Angeles and suburban Washington.
Some actors would come and go, so some audiences would be seeing Marsha Mason, Mike Farrell and—replacing John de Lancie as Darrow, James Cromwell: Zephran Cochrane for Q.
It would also be seen on the Penn State campus at University Park, just a few hours up the highway from Dover, PA, where another trial involving the teaching of evolution in schools was going on as we gathered to discuss this production.
The assembled participants stressed that the production was not one-sided. Certainly the teaching of science, and keeping religious views separate from science education, was the core issue. But they talked about the principles and the fears that Bryan represented---the idea that to him and others, Darwinian evolution symbolized the threat of a soulless society, without human values. In some venues, the production would be followed by discussions involving experts and prominent voices in that community.
After the workshop I talked briefly with director Gordon Hunt about actors and voices. He said that with all the emphasis on the visual, younger actors were not getting enough vocal training. Even theatrically trained actors often lack the skills to act with their voices.
This is an often-overlooked element in Star Trek’s success: distinctive and powerful voices, and actors who used them well. It’s part of Star Trek’s debt to theatre and even to radio.
I also talked with actor Kevin Kilner, who hopes to produce a documentary about this tour. We continued our conversation as they all left the studio theatre. Outside, as the vans pulled up to take them away, I noticed John de Lancie and Edward Asner standing together. I knew I had only a few minutes before they left, so I had to make a painful choice: do I talk to Lou Grant (Mondays at 10 will always be sacred because of him) or to Q?
It was you, dear readers, who decided it for me.
De Lancie said he had no further Q projects in the works—no novel or audio (as the two “Q and Spock” dialogues he did with Leonard Nimoy.) His opinion is that Star Trek is over, at least for the foreseeable future. He is of the “they went to the well too often” school, suggesting that three series done by the same people had perhaps been too much.
In the printed program for that evening’s performance, Star Trek is barely mentioned in de Lancie’s credits, sandwiched between “The Closer” and “Legend” in a list of “numerous television shows.” Instead his film and theatre work, and particularly his performances with symphony orchestras were emphasized. In addition to performing with the New York Philharmonic, Philadelphia Orchestra and Montreal Symphony, he has written and directed ten Symphonic Plays, and a concert series for the Los Angeles Philharmonic. He is scheduled to direct several operas in Atlanta. He has kept his hand in the science fiction field as well. In addition to Alien Voices, he’s produced television specials for the Sci-Fi Channel.
As for the opening performance itself, it was staged with simplicity and strength, and the script provided vivid historical context. The production was dramatic while still being fair and reasonably faithful to the actual events. The set was comprised of simple tables and chairs on two levels. The actors read from scripts in hand. There was a director onstage who cued sound and light effects. You know, Q de Lancie! (Sorry, couldn’t help it.)
On this particular night, the trial judge was played by another Star Trek actor, Jerry Hardin, who spoke with the same accent he used playing Samuel Clemens/Mark Twain in TNG’s “Time’s Arrow,” although he looked more as he did in TNG’s “”When the Bough Breaks.”
De Lancie’s authoritative Q voice served him well, although Darrow doesn’t have particularly brilliant speeches. His big moment is the cross-examination of Bryan towards the end of the play. (Our local talent, Bo Banduci, did very well as the 14 year old who testified as to what his teacher had said about evolution. Banduci’s strong voice and assured performance matched up very well with de Lancie, who questioned him.)
My strongest impression was that this production revealed the unique strengths of staging a radio drama (or, at least, this particular one), and exposed an area of potential weakness. The strength is in adding the visual dimension to riveting oratory. There were two transcendent examples of this, both in the first act. The first was a speech delivered with consummate skill by Edward Asner. He had captivated the audience immediately, with his theatrical pronunciation of “evil-lution”---no doubt something that the theatrical Bryan would have done. But he didn’t have a real speech until well into the first act, but when he did, it was a dandy.
Then the first act ended with the most powerful oratory of the trial, delivered by neither Bryan nor Darrow, but by Dudley Malone, a defense attorney who had said little to that point. It was delivered in this production with spellbinding intensity and consummate skill by Steppenwolf Theatre Company actor Francis Guinan (any relation? He didn’t look El-Aurian). Bryan himself called it the greatest speech he ever heard.
But after the long first act ended with these verbal fireworks, the shorter second act seemed to lack its energy. Darrow’s cross-examination of Bryan is the dramatic climax of the play and film version of “Inherit the Wind,” (also based on this trial, though with a stronger point of view) which emphasizes Bryan’s increasingly desperate defense of his belief in the more or less literal interpretation of the Bible as scientific fact. But on this night, in this production, it seemed to fall a little flat.
It may have been that de Lancie and Asner didn’t have their timing down yet. Maybe the writing wasn't as sharp, or maybe it was just me---I was tired. But it could also be a problem inherent in the form. Bryan’s breakdown, partly physical (he died a few days later) is more subtle than the oratory. Perhaps those in the first few rows who could see Asner’s face clearly, or hear the nuances in his soft tones, had a different experience. (I’m hoping to catch the radio broadcast of this performance on the campus station to hear this scene again, without trying to see it.) But this may be something that staged radio drama can’t do as well as either radio or fully produced stage or screen drama.
The issues of the Scopes trial and the continuing evolution debate touch upon concerns that are important in Star Trek, though in some sense Star Trek reconciles them: it represents science and soul.
But I suppose my greatest impression in experiencing this production and applying it to Star Trek is my gratitude that for most of its run on television and in film, Star Trek clearly came from this rich, complex, wondrous and profoundly human tradition of theatre and classic movie (and radio) storytelling, and not from video games.
In the printed program for that evening’s performance, Star Trek is barely mentioned in de Lancie’s credits, sandwiched between “The Closer” and “Legend” in a list of “numerous television shows.” Instead his film and theatre work, and particularly his performances with symphony orchestras were emphasized. In addition to performing with the New York Philharmonic, Philadelphia Orchestra and Montreal Symphony, he has written and directed ten Symphonic Plays, and a concert series for the Los Angeles Philharmonic. He is scheduled to direct several operas in Atlanta. He has kept his hand in the science fiction field as well. In addition to Alien Voices, he’s produced television specials for the Sci-Fi Channel.
As for the opening performance itself, it was staged with simplicity and strength, and the script provided vivid historical context. The production was dramatic while still being fair and reasonably faithful to the actual events. The set was comprised of simple tables and chairs on two levels. The actors read from scripts in hand. There was a director onstage who cued sound and light effects. You know, Q de Lancie! (Sorry, couldn’t help it.)
On this particular night, the trial judge was played by another Star Trek actor, Jerry Hardin, who spoke with the same accent he used playing Samuel Clemens/Mark Twain in TNG’s “Time’s Arrow,” although he looked more as he did in TNG’s “”When the Bough Breaks.”
De Lancie’s authoritative Q voice served him well, although Darrow doesn’t have particularly brilliant speeches. His big moment is the cross-examination of Bryan towards the end of the play. (Our local talent, Bo Banduci, did very well as the 14 year old who testified as to what his teacher had said about evolution. Banduci’s strong voice and assured performance matched up very well with de Lancie, who questioned him.)
My strongest impression was that this production revealed the unique strengths of staging a radio drama (or, at least, this particular one), and exposed an area of potential weakness. The strength is in adding the visual dimension to riveting oratory. There were two transcendent examples of this, both in the first act. The first was a speech delivered with consummate skill by Edward Asner. He had captivated the audience immediately, with his theatrical pronunciation of “evil-lution”---no doubt something that the theatrical Bryan would have done. But he didn’t have a real speech until well into the first act, but when he did, it was a dandy.
Then the first act ended with the most powerful oratory of the trial, delivered by neither Bryan nor Darrow, but by Dudley Malone, a defense attorney who had said little to that point. It was delivered in this production with spellbinding intensity and consummate skill by Steppenwolf Theatre Company actor Francis Guinan (any relation? He didn’t look El-Aurian). Bryan himself called it the greatest speech he ever heard.
But after the long first act ended with these verbal fireworks, the shorter second act seemed to lack its energy. Darrow’s cross-examination of Bryan is the dramatic climax of the play and film version of “Inherit the Wind,” (also based on this trial, though with a stronger point of view) which emphasizes Bryan’s increasingly desperate defense of his belief in the more or less literal interpretation of the Bible as scientific fact. But on this night, in this production, it seemed to fall a little flat.
It may have been that de Lancie and Asner didn’t have their timing down yet. Maybe the writing wasn't as sharp, or maybe it was just me---I was tired. But it could also be a problem inherent in the form. Bryan’s breakdown, partly physical (he died a few days later) is more subtle than the oratory. Perhaps those in the first few rows who could see Asner’s face clearly, or hear the nuances in his soft tones, had a different experience. (I’m hoping to catch the radio broadcast of this performance on the campus station to hear this scene again, without trying to see it.) But this may be something that staged radio drama can’t do as well as either radio or fully produced stage or screen drama.
The issues of the Scopes trial and the continuing evolution debate touch upon concerns that are important in Star Trek, though in some sense Star Trek reconciles them: it represents science and soul.
But I suppose my greatest impression in experiencing this production and applying it to Star Trek is my gratitude that for most of its run on television and in film, Star Trek clearly came from this rich, complex, wondrous and profoundly human tradition of theatre and classic movie (and radio) storytelling, and not from video games.
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