CNY PLAYHOUSE PRESENTS: THE WAR OF THE WORLDS

Blog manager Tom took his wife to the most unromantic play he could for Valentine’s Day, a community theater production of Orson Welles’ WAR OF THE WORLDS. So we have to ask, “Was love in the air when it was over?” 

THE WAR OF THE WORLDS: THE 1938 BROADCAST

Directed by Sara Harrington & Erica Moser

Written by Howard Koch (CBS War of the Worlds production) & Sara Harrington (First Act playwright)

Produced by Novis Fuller

Starring Alex Sandler as Orson Welles and Leigh Fought as Professor Pierson

Community theater troupes often come up with eclectic presentations you wouldn’t expect. The CNY Playhouse is no different. Who would’ve thought a radio presentation that shook America nearly a century ago would be relevant today. But it is. THE WAR OF THE WORLDS: THE 1938 BROADCAST is a live recreation of the broadcast, right down to the special effects being created like an orchestra during the performance. It’s a wonderful experience to behold. 

Extremely poignant in an era of ICE and global uncertainty, THE WAR OF THE WORLDS again proves that good entertainment is timeless, and so are the messages one gets from it. Originally produced at a point when America was inches from allying with fascist Germany in the dark days leading up to WWII, one would be ignorant to not see the modern correlations. In Welles’ own words, the warnings this production gives us are once again topical. What people don’t typically understand about monsters in speculative genre fiction, is they are metaphor for the real scary things. Thus, the Martians aren’t aliens, no, they’re the enemy hidden within America that’s been exposing its face far too often as of late in our real world. In 1938 they were ripe symbolism for fascists in Europe and those sulking around the shadows in America. Within a year of this broadcast, Germany invaded Poland and launched WWII.

The cast was spectacular, but three members stood out in particular to me, Alex Sandler as Orson Welles, Leigh Fought as a gender bent Professor Pierson, and Fatima Yasmin in the role of an announcer. Alex is young and baby faced, he spoke with conviction as Welles, and looked dapper in his costuming. He fully embodied the larger than life radio and motion picture creator, and though he lacked the trademark baritone Welles was known for, it was permissible for the performance. Sandler gave Welles a likability not typically associated with a man known for his ego—which Sandler also tapped into with a few nods. Leigh Fought was commanding on the stage, and did a wonderful job of flipping the sex of the original production’s protagonist, performed by Welles himself in the radio play. Her Professor Pierson seems much more empathetic than Welles in the role, and was a welcome change to those familiar with the source material.

Fatima Yasmin, however, was the secret weapon of this production. Her Mid-Atlantic accent, something so prevalent during the era this event occurred, was the glue that made this stage production of… the CBS War of the Worlds production… so believable for the attendees. Speaking with her after the performance, I commended Yasmin on channeling Katherine Hepburn’s vocal mannerisms like a champ, a compliment she graciously accepted.

The night was split into two acts, the latter being a re-creation of the actual broadcast, and the former a behind the scenes pastiche, an original presentation written by co-director Sara Harrington. The first act did a wonderful job of setting up the backstory of the radio play that enamored American listeners in 1938. A highlight of this portion was a montage scene, centered around Howard Koch (Brian O’Connor) and Anne Froelick’s (Ashalee Caggy) creation process of the script. 

Susan Pitzono and Michael Dougherty were fantastic in their side roles as the “average Americans listening to the broadcast.” Off to the side on stage left, on a small set made to resemble a 1930’s era living room, they embodied the typical listener. Those familiar with the phenomenon surrounding the original broadcast airing of the production, know many listeners believed it was… true! Calls to the CBS studios came in droves, and eventually they were forced to air a live disclaimer, much to Welles’ chagrin.

And though this was as side-piece to the production, the tinfoil hats they wore were likely the most important, and as subtle as what it was intended to highlight. In an era filled with AI images, where social media propaganda and conspiracy theories frequently dupe unsuspecting persons into believing lies, it showed how susceptible Americans (and people in general) are to influence. In what was an attempt to make a realistic sounding Halloween scare, Welles accomplished his goal and inadvertently caused a panic across a country.  

This production wasn’t greeted with panic, instead there was a rousing, standing applause from the attendees as the figurative curtain fell. Seeing kids there, experiencing this iconic bit of American entertainment media lore for the first time, made me happy. I was a preteen at my first exposure to the WAR OF THE WORLDS radio broadcast, and it led to me wanting to work in radio and fed my appetite for speculative fiction. 

Next up for the CNY Playhouse is a production of 12 ANGRY JURORS. CNY Playhouse is a non-profit community theater, and has been producing plays since 2012. Visit cnyplayhouse.org for more details, including productions and instructions on how to support and donate.

PLEASE NOTE: The views and opinions of the staff of Memento Mori Ink do not necessarily represent those of Memento Mori Ink or Crystal Lake Publishing. Thank you for understanding.