The Four-Color Trilogy, Part Two

The Innocence of Seduction

Once, in the 21st century, there lived an ultra conservative, but arrogantly stupid man who possessed a modicum of power in the state he governed. However, this man longed for even more authority and strict control over his people—in fact, all his country’s people. He tried to become its leader. In attempting to win over the other unimaginative right-wingers, this narrow-minded man began a campaign to limit what could be taught in schools. But even worse than that, he began banning all the children’s books that didn’t meet his personal criteria and moral standards. Not only were hundreds of books removed from school curricula and libraries, they were often even burned.   

Now flash back to 1954, when a German-American psychiatrist named Frederic Wertham published a book that would ignite the flame of literary censorship. It was entitled The Seduction of Innocence and it claimed that comic books were a major cause of juvenile delinquency. Wertham’s opinion went unchallenged for years and it was considered gospel because, after all, he was a doctor. He charged that these “crime comics,” as he called them, depicted sex, violence and drug use. He wrote that they told terrifying tales of horror and erotic depictions of superheroes, quite possibly even homosexuality. Wertham asserted that there was no doubt that reading such comic books would encourage similar behavior in children.

Much like the beliefs and doctrines of the Third Reich Wertham’s book sparked the interests of the overly-cautious. reactionary right-wing politicians in the American government. This idea that comic books were corrupting the country’s youth nicely fit into the witch hunt era of McCarthyism and the second Red Scare of the 1940’s and 1950’s. In making public accusations against the exciting entertainments published by 

EC Comics, The Seduction of Innocence caught the attention of US conservatives, like Southern Senator Estes Kefauver. 

Appearing before the Senate Subcommittee on Juvenile Delinquency, William Gaines, EC’s publisher, defended the art and commitment of his staff and testified that comic books were simply escapist literature for older children. Dr. Wertham went so far as to compare the comic book industry to Adolf Hitler. It was decided that in order to continue publishing his comics, Bill Gaines had to agree to his works passing the inspection of a Code of Comics Authority. This absurd form of censorship, clearly a violation of the First Amendment, practically brought down EC Comics; however, Bill Gaines had an ace up his sleeve.

Playwright and director Mark Pracht presents the second play in “Four-Color Trilogy” as the opening production of City Lit’s 43rd season. Last season saw “The Mark of Kane,” the first chapter of his series of historical dramas set in the early years of the comic book industry. While that play explored the origins of the Batman and Robin series, this play sheds light on the visual artists and the men behind the scenes who brought young readers an array of provocative adventure, horror, crime fiction, dark fantasy, futuristic science tales, military stories and satire. The comics bore titles that included Tales From the Crypt, The Vault of Horror, Weird Science, Shock SuspenStories, The Haunt of Fear, Crime Patrol, Valor and many others.

Pracht’s second installment in this series boasts an unbelievably large cast of 15 talented actors. Many of them portray multiple characters, making this fact-based story feel epic in scope. With so many performers onstage telling this tale, an impressive, multi-scenic set design was provided by Chicago’s Renaissance theatrical artist, G. “Max” Maxin IV. In addition to lighting the play with mood and atmosphere, his set provides several different locales. It’s backed by a giant television screen upon which Maxin has created films and slides from the 1950’s that enhance the story. Beth Laske-Miller’s period costumes are excellent, as is Petter Wahlback’s appropriately moody musical compositions and sound.

Returning to City Lit after his appearance in “The Mark of Kane,” Sean Harklerode does a fantastic job portraying quirky Bill Gaines. While sometimes I wished he’d pick up his lines and cues a little faster, Mr. Harklerode does a terrific job of capturing that weird wizard of the comic book world. His Bill Gaines sticks with you long after the final bows. Sean’s performance is nicely balanced by a popular veteran of so many Chicago theatrical productions, Frank Nall. He plays a ghostly, mad scientist-like Frederic Wertham. The character is there for fun and he continually pops up between vignettes to serve as the Crypt Keeper, injecting black humor and connecting the scenes. I’m not sure, though, how many in the audience fully understood who this man was, and appreciate the irony the character brings to each cameo appearance. 

The large supporting cast is excellent. Andrew Bosworth is fantastic individually playing three very different characters: Frank Guisto, Reed Crandall and Jack Davis. He also serves as fight captain for the production. Brian Bradford is honest and sympathetic as Matt Baker, one of the few African-American comic book artists at that time. He’s also a closeted gay young man who regularly has romantic interludes with wealthy, married comic book publisher, Archer St. John, magnificently played by John Blick (who also portrays Henry Valleau). Charlie Diaz is truthful as artist and Gaines’ friend, Al Feldstein. Much of Act II belongs to this character as he tries to help Bill save the comic book empire. And Zach Kunde beautifully plays Gaines’ devoted friend and business manager, the earnest and devoted Lyle Stuart.    

Laura Coleman is Bill Gaines’ snappy, sardonic secretary and office manager, Shirley Norris. She brings the wit and humor into this production—imagine an Eve Arden type of hard-nosed, wise-cracking dame. I looked forward to every one of her entrances. Megan Clarke plays Janice Valleau, one of the few female artists who worked in what was considered a male profession. Her feminine drawings, which began with the Betty and Veronica series, added a sexiness to the comics. Ms. Clarke is full of energy but sometimes she overplays her hand. Although this isn’t a realistically told story (as proven by Frank Nall’s continual narrator appearances), sometimes Ms. Clarke’s performances seem over-the-top and verge on the melodramatic. Attractive Jessica Lauren Fisher, playing both Jessie Gaines and Gertrude St. John, seems like she’s created both characters from the same fabric. Both women are shrewish and pretty unpleasant.

Newcomer to the City Lit stage, LaTorious Givens stands out as Connie, Matt Baker’s “friend” and sometime artist’s model. She’s overflowing with sass, spunk and attitude and, while sometimes a little too forceful, the audience can understand her character’s frustrating attempt at a commitment with Baker. I hope to see more of her in the future.

An accomplished actor, Robin Trevino does double duty, playing both comic book entrepreneur and smarmy Senator Kefauver. Chuck Munro is also impressive in two similar roles, both classy and contained. He plays Judge Murphy and the belligerent Barry Walsh. More of an annoying interruption in the plot, Bill’s father Max Gaines keeps appearing in his mind, as a grizzled castaway with a beard and shackles. He’s played by Ron Quade. And Paul strongly Chakrin plays both John Goldwater and Senator Hendrickson.

While there’s a choppiness to the flow of the production, possibly due to the continual interruptions by a zombie-like Max Gaines and the eerie Frederic Wertham, this is still an educational and entertaining play. Perhaps not quite as powerful as the more succinct, yet longer, “The Mark of Kane,” the perceptive patron will undoubtedly recognize this as a cautionary tale reflecting today’s political news. There’s plenty of fun and even more factual information to be gleaned from this Four-Color Trilogy, part two.

Recommended

Reviewed by Colin Douglas

Presented August 25-October 8 by City Lit Theater, inside the Edgewater Presbyterian Church  at 1020 W. Bryn Mawr Ave., Chicago.

Tickets are available in person at the box office, by calling 773-293-3682, or by going to www.citylit.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.