Being considered a “boy genius” probably heightened Orson Welles’ substantial ego. In October 1940, his chutzpah enabled him to knock on the hotel room door of a man long recognized as a genius: H.G. Wells, the creator of science fiction, a futurist and social critic, and the author of 50 novels and many nonfiction works. Wells, 75, wrote utopian works and foresaw the development of 20th century inventions such as aircraft, space travel, nuclear weapons, satellite TV and even something like the world wide web. And indeed, Welles, 25 years old, was already known for his work as an actor, director and radio host. He came to be known as a genius and recognized as one of the most influential filmmakers of all time.
We meet these two prodigies in Lucid Theater’s play, Wells and Welles, written by Chicago playwright Amy Crider and directed by Amber Mandley (Shakespeare’s R & J). This delightful world premiere production tells the story of one day in the life of these two world-renowned figures.
In this fact-based play, set on October 28, 1940, both H.G. Wells (Pete Blatchford) and Orson Welles (Gerrit Wilford) are in San Antonio, Texas, for speaking engagements. This is two years after Welles’ Mercury Theater on the Air broadcast the Halloween night radio drama, The War of the Worlds, which terrified listeners who believed the US was being invaded by Martians. Welles knew that Wells was not happy about the adaptation of the work without his permission. (Welles says, in excuse, “I loved The War of the Worlds. I felt it belonged to me-because I loved it so.”)
The play begins as H.G. Wells is in his hotel room, trying to work. Orson Welles knocks at the door and asks to come in out of the rainstorm. He’s there, he says, so he can apologize to H.G.—and “bury the hatchet,” as he puts it. Wilford plays a charming and helpful Welles, who eventually wins over Wells by opening a bottle of Kentucky bourbon and showing Wells how to fix the ribbon on his typewriter.
Orson has other motives in approaching H.G. He is eager to get the noted author to join him for a radio interview that day on KTSA-AM radio. First, Welles tells Wells the interview will be great publicity for both of them. But Wells says he doesn’t need publicity. Welles eventually admits he wants the visibility of the interview to help him raise funds to complete the film he’s working on. The film would be Citizen Kane, Welles’ 1941 masterpiece.
Crider’s play suggests what might have happened in that San Antonio hotel room on that rainy day. And we get to eavesdrop on the conversation, as the grumpy Wells warms up to Welles’ personal charm.
The final scene of the play takes place at the radio station, where Welles is prepared for the interview and still unsure whether Wells will appear. He does, and the interview proceeds, conducted by Charles C. Shaw (Jeff Broitman), as the KTSA radio host. During the interview, lights go down on the scene and we hear a clip from the actual radio interview conducted that day. You can find a link to that 24-minute interview here. (There's a glitch early in the interview but you can move past it to continue.)
(During the interview, Wells admitted his surprise at the sensation that resulted from the War of the Worlds broadcast and admitted he was indebted to Welles for increasing sales of one of his "more obscure" books.)
Director Mandley keeps the action crisp and the actors do a fine job with Crider’s well-written dialogue—dialogue suitable for two geniuses. Set design of the large hotel room is by Kevin Rolfs with lighting and sound design by Alvaro Ledesma. Elijah McTiernan is stage manager.
Wells and Welles by Lucid Theater continues through August 11 at City Lit Theater, 1020 W. Bryn Mawr Ave. Running time is 90 minutes with no intermission. Tickets are $25 for performances Thursday-Sunday.
For more information on this and other plays, see theatreinchicago.com.
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