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How Often Do We As Artists Get the Opportunity

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How Often Do We As Artists Get the Opportunity “How often do we as artists get the opportunity to speak directly to our audience at the very moment that they are personally experiencing exactly what the author is writing about?” Orson Welles to John Houseman in the WAR OF THE WELL(e)S IF you were listening to the radio on October 30, 1938 anywhere in America you didn’t need to wait for Halloween to instill fear and uncertainty into your life. With Hitler’s early bloodthirst as a harbinger of World War II, many Americans were primed for the un- imaginable to become the new reality; the invisible to become the unforgettably visible. Add to this the understanding that aside from some standard tabloid hyperbole at this time, there was no reason to believe that news was overly manipulative or wholeheartedly fake, and you have the perfect storm for a bit of infamous national hysteria. Michael Weber’s play, originally written for the stage and now presented in the medium that further ignites our imaginations while paying homage to the creative process that generated a sensation, invites us to consider Welles as the ultimate provocateur. With German submarines spotted off the Mid-Atlantic coast, the idea of testing society’s potential reaction to the frightening possibility of sinister aliens crossing global borders from Mexico, I mean Mars, didn’t seem at all far-fetched to Welles. Or perhaps only as far-fetched as believing that a global pandemic could arrive at our doorsteps in 2020 accompanied by the same familiar human reactions Americans experienced in 1938. Whether driven by the 23 year old ego of a genius artist or the conscious act of a social scientist’s media experiment or both, Welles challenges his artistic partner John Houseman and us with the eternally relevant, infinitely applicable and always un-answered question: “When it’s over, win or loose, is it back to business as usual or for once in our lives do we actually, oh, I don’t know, learn from the past?”. Thanks for listening. Larry THE STAKEHOLDERS ORSON WELLES JOHN HOUSEMAN HOWARD KOCH JONATHAN WAGNER TOM HICKEY TRAVIS KNIGHT At age twenty one, before he was widely ac- The Romanian-born British-American actor was As the gifted new writer joining the Mercury The- knowledged as one of the greatest filmmakers of initially a producer of theatre, film, and television atre Radio Ensemble in 1938, Howard Koch was all time, Orson Welles co-founded the Mercury and best known early on for his rule breaking tasked by Houseman and Welles with the mammoth Theatre with Producer John Houseman in 1937. collaborations with Orson Welles as director on challenge of adapting H.G. Wells’ The War of the Following a string of successful ground-breaking such controversial and successful productions as Worlds. Originally set in 1897 England, he trans- Broadway productions, the Mercury produced Macbeth (also known as Voodoo Macbeth fea- formed the book into a contemporary late breaking one if its most infamous productions with an ad- turing an all black cast in Harlem) and The Cra- news bulletin format with a first person singular aptation of H.G. Wells’ The War of the Worlds, dle Will Rock (which was notoriously threatened perspective in less than a week. Three days in, with which Welles had envisioned in a format of by government censorship). Welles in absentia (he was doing all nighters working breaking news occurring in real time. Houseman, who is fondly remembered as an on Broadway’s Danton’s Death) Koch had confided The production would throw Welles into the cen- actor for his portrayal of Professor Charles W. in Houseman as producer that he could not execute ter of a great national controversy while catapult- Kingsfield inThe Paper Chase, played many the adaptation. Houseman insisted Koch continue ing him even further into his prowess as a rising roles in his life but as he shared in his 1972 collaborating with himself and Paul Stewart only star of media. Although he would later hint that memoir, Run-Through , one of his biggest com- to arrive with a draft that most in the ensemble felt the production’s manipulation was not complete- mitments was “on a partnership with a 20-year- would be a complete disaster. Following his work ly unintentional, at the time Welles sheepishly old boy in whose talent I had unquestioning with the Mercury, Koch became a successful screen- told the press: “If I’d planned to wreck my ca- faith but with whom I must increasingly play the writer (Casablanca) and wrote a play about his radio reer, I couldn’t have gone about it better.” combined and tricky roles of producer, censor, experience Invasion from Mars later adapted for the adviser, impresario, father, older brother and TV movie, The Night that Panicked America. bosom friend.” THE MERCURY THEATRE ENSEMBLE KENNY DELMAR PAUL STEWART ORA NICHOLS RAY COLLINS FRANK READICK LANCE BAKER JEFF STILL MIERKA GIRTEN LEVI HOLLOWAY WILL CLINGER Delmar was widely known Helping Orson Welles get Nichols was the first and With over 900 stage roles to Deeply inspired by WLS for his characterization of his first job in radio, Stew- only woman to run a sound his credit, Ray Collins was a radio’s Herb Morrison in Senator Beauragard Clag- art was the Associate Pro- effects department during the core member of the Mercury his live audio coverage of horn on the Fred Allen Show ducer for the Mercury and Golden Age of radio. Transi- Radio Theatre Ensemble. A the Hindenburg disaster in which would then go on to the co-writer and rehearsal tioning from the vaudeville long time friend and associ- 1937, Frank Readick was become the inspiration for director for The War of circuit as a drummer and ate actor with Orson Welles, determined to craft his own the Warner Brothers animat- The Worlds. Orson Welles dancer to silent films as a Collins notably appeared authentic performance as a ed character Foghorn Leg- credited Stewart for creating sound effects and musical ac- in Citizen Kane and played reporter in The War of the horn. much of the excellent qual- companist, Ora Nichols was Ltnt. Arthur Tragg in Perry Worlds who was witnessing His dead on impression of ity of the Mercury’s work. the head sound engineer of Mason. He played three roles the horrific tragedy of an FDR (masked as the Secre- Paul Stewart made his film CBS who was not only con- in The War of the Worlds, alien invasion before his very tary of the Interior) in The debut as Kane’s butler and sidered an absolute master in where he played the rooftop eyes. He appeared with Or- War Of The Worlds was valet in Citizen Kane utter- her craft but could humble newscaster describing the son Welles in Citizen Kane one hidden weapon of au- ing the first line of the film, and slay Orson Welles him- destruction of New York in and was well known for his thenticity credited for incit- “Rosebud...I’ll tell you about self with her metaphorical vivid detail. evil laughter in The Shadow ing the broadcast’s hysteria. Rosebud.” and imaginative audio and series. foley concepts. THE RADIO LISTENERS DOROTHY TISHMAN SAMUEL TISHMAN JOHN MORRISON HENRY BRYLAWSKI LOUIS WINKLER MIERKA GIRTEN MICHAEL WEBER GUY VAN SWEARINGEN KEVIN MATTHEW REYES DANNY MCCARTHY Dorothy Tishman, a domes- A hard working Eastern Eu- Prepared for a quiet night at On his way to pick up his The bachelor bricklayer from tic who worked part time in a ropean immigrant arriving in the police station before Hal- girlfriend in Washington D.C., Manhattan “almost had a heart cinema box office, is enam- Manhattan in 1920, Samuel loween, John Morrison was the 25 year old law student attack” when he listened to ored with movies, musicals Tishman was a newspaper the rookie Bronx cop who first was en route when he heard The War of the Worlds broad- and the likes of Nelson Eddy salesman married to Dorothy became aware of the alien in- that an alien ship had landed cast. Following that near crisis, and Henry Fonda. The Tish- Tishman. Samuel gets easily vasion by fielding many of the on a New Jersey farm. Al- he hit the streets in a panic mans discover the supposed caught up in the hysteria of 800 phone inquiries from New though at the age of 92 Bry- attempting to seek shelter and alien attack secondhand from the broadcast through his York and New Jersey citizens lawski would reflect back on refuge. After spending his last panicked friends and family own confusion and paranoia who expressed great concern that time claiming he “knew dollars on a train ticket out because they were, like many about Hitler’s ascent and an over what to do, where to go it was a hoax”, his girlfriend of the city only to find that it others, late listeners to the ensuing invasion by aliens and whether the alien invasion was completely terrified by was just a radio show induced already in progress broad- from Mars. itself was real. the broadcast. But not so scare, Winkler asked The Mer- cast. much so, that she couldn’t cury Theatre to reimburse him become his fiancé the night of for the money he had spent the broadcast. on his departure (he had been saving for a new pair of shoes); CBS was happy to oblige. THE CHARACTERS LTNT. MONTGOMERY SMITH NARRATOR ANNOUNCER CBS EXECUTIVE, OFFICER HENRY GODINEZ LAWRENCE GRIMM ANISH JETHMELANI JOHN LISTER MCDONALD, LTNT. PHILEAS FOGG MRS. WILMUTH GUNNER, POLICEMAN, REPORTER, OBSERVER, VOGHT, OPERATOR JON MOZES SADIEH RIFAI REPORTER ANNOUNCER PHILIP LORTIE CAMERON ROBERTS STEVE SCHINE THE STRANGER SECRETARY OF THE INTERIOR REPORTER, ANNOUNCER, PASSEPARTOUT, MICHAEL SHANNON MICHAEL PATRICK THORNTON CARL PHILIPS CAPTAIN LANSING DOUG VICKERS JONATHAN WEIR THE CREW Playwright………….………………………....Michael Weber Director/Producer…………….....…….…..Lawrence Grimm Graphic Design…………..…..……………….....Colin Grimm Sound Design/Foley……........…………..…..Matthew Grimm Program Design………………….…....……Sanja Manakoski SPECIAL THANKS Kirsten Fitzgerald, Abigail Madden, Jeannie Lukow, James Juliano, Austin Packard, SAG-AFTRA, The Koch Estate.
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