26-27 Proposal: It Can't Happen Here

It Can't Happen Here 

By Sinclair Lewis

Adapted by Tony Taccone and Bennett S. Cohen

Directed by Brandi Douglas

Show Synopsis 

From Dramatists Play Service: “A cautionary dark satire about the fragility of democracy and how fascism can take hold even in the land of liberty, IT CAN’T HAPPEN HERE follows the ascent of a demagogue who becomes president of the United States by promising to return the country to greatness. Witnessing the new president’s tyranny from the sidelines is a liberal, middle-class newspaper editor from Vermont who trusts the system will fix itself—until he ends up in a prison camp. Sinclair Lewis’ eerily prescient 1935 novel gets a fresh update in this adaptation that examines what brings a citizenry to the point of sacrificing its own freedom and how a courageous few can prevail to overcome the fall.”

Vision Statement 

When I first read this play, I was a member of the Play Reading Committee for the Majestic Theatre. The story of Doremus Jessup and how his faith in American democracy is shaken felt familiar, as if Sinclair Lewis wrote it in 2018 and not in 1935. There were moments when reading that not only did I audibly gasp, but I also threw the book across the room. It greatly impacted me, and I looked forward to seeing it on the stage. When the original director for this show passed on bringing it back, I asked for her blessing to allow me to propose this show and received it. My vision for Sinclair Lewis's It Can't Happen Here is a heroic-realistic portrayal of fascism's creeping rise in 1930s America, transforming into an oppressive display of propaganda. Having been profoundly impacted by the play's unsettling prescience, I believe its message is more vital than ever for today's audiences.

It Can’t Happen Here is an interactive, dystopian drama, takes place in 1930s New England, where an alternate reality sees fascism infiltrating American politics and slowly consuming the lives of citizens in Fort Beulah, Vermont. Set against the backdrop of the Great Depression, citizens yearn for a new direction. Buzz Windrip's campaign begins as a "shining beacon" of American promise, but as he gains power, this beacon morphs into an ever-present, oppressive force, controlling every aspect of life and crushing dissent.

The set design will visually represent this chilling transformation. A central platform, flanked by high brick walls, will serve as the stage for Windrip's campaign and presidency, symbolizing his increasing power and isolation. On either side, stage left and right will depict the daily lives of citizens, showcasing the stark contrast between life before and during the regime's takeover. This design underscores the looming presence of American politics and the citizens' reactions to authoritarianism.

The choice of play lends itself to a diverse cast as there is no explicit request for specific racial or gender identities. The casting process is open to the public and will be advertised throughout the Willamette Valley. Specifically, I will make sure communities of color know about the open auditions through connection with organizations that cater to those communities.

I believe this play will attract our current audience because it's a show that was supposed to happen five years ago, and folks have been waiting for its return. For new audiences, the content of the play, as well as the advertising, which will be in the style of heroic realism (this We Want You Uncle Sam posters), will draw them in.

The play is a deeply Orwellian dystopia that unflinchingly highlights how Americans, seeking individual solutions, can unwittingly pave the way for totalitarianism by neglecting their role in society. Despite the play's explicit disclaimer of contemporary connections, the parallels to our current world are undeniable. My aim is for audiences to leave contemplating their own choices in such a scenario, recognizing how close we may be to this alternative reality. To foster deeper engagement, I plan to host two talkbacks after the matinee performances, inviting experts from the Oregon State University community to share their insights and facilitate dialogue. I am eager to bring this thought-provoking, unsettling, and reflective play to the Majestic mainstage.