SMA Podcast

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

The courtroom drama han been a theatrical staple for centuries, stretching back to Shakespeare's The Merchant of Venice and even, if you consider the Greek chorus as an unsworn jury, Sophocles' Oedipus the King.  In more modern times, Broadway has had its share of courtroom dramas, from Inherit the Wind to A Man for All Seasons, but only in a few instances has virtually the entire play taken place in the courtroom. Two good examples of the latter both involve military courts: Saul Levitt's The Andersonville Trial, and Herman Wouk's The Caine Mutiny Court-Martial.

Theatergoers with training in law often squirm a bit when they attend a legal-themed play (or, for that matter, movie), because in many in-stances, the playwright or screenwriter has exhibited no regard for authentic courtroom procedure. Herman Wouk (who died in May 2019 just days before his 104th birthday) did his homework. A naval reserve officer in World War II who served as executive officer aboard the U.S.S. Southard, and was decorated for valor, Wouk knew how Navy men talked; but he had no legal training, and there was no template for a World War II court-martial trial for mutiny, as none had actually occurred. Wouk scrupulously read the 588-page manual called Naval Courts and Boards, and apart from certain minor omissions for the sake of brevity, the action of The Caine Mutiny Court-Martial strictly adheres to courtroom regulations as practiced in 1945, the time of the play. Wouk also studied psychoneurotic case histories in creating the character of Captain Queeg - but let's not give away the plot.

Act I: The Prosecution

Act II: The Defense

The time of the play is February 1945. The scene is the General Court-Martial Room of the Twelfth Naval District, San Francisco. At the end of Act II the scene shifts to a banquet room in the Hotel Fairmont, San Francisco.

In May 1947, the House Un-American Activities Committee, known as HUAC, began a crusade against the motion picture industry. HUAC had recently become a permanent congressional body, thanks in large part to Mississippi congressman John E. Rankin, a virulent racist and anti-Semite, who claimed that a Communist plot to overthrow the government of the United States had its “headquarters in Hollywood.” Over the next decade, scores of actors, directors, screenwriters, and other movie people were summoned before HUAC and ordered to disclose whether they now or in the past had been Communist Party members, and to give up the names of fellow members. Ten men, including screenwriters Ring Lardner, Jr., and Dalton Trumbo, defied the committee and went to jail. Others refused all questions on Fifth Amendment grounds, and were blacklisted, unable to work for any of the studios. Many cooperated by giving up the names of their friends.

This dark period in American history is the backdrop for The Cauldron of Fire, a dramatic monologue which received its world premiere in January 2018 at the San Miguel Playhouse.

The play takes place in January 2018, in the Boyle Heights, Los Angeles, apartment of Helen Goldman.

Helen Goldman, a former Hollywood screenwriter, is a woman of Russian-Jewish descent born in New York City in 1920. Now 97 and one the last survivors of the Hollywood blacklist, Helen has arranged a fateful meeting with another survivor, a director. Goldman was a non-cooperator who went to prison; the director, meanwhile, named names, and continued with his career.

Fredric Dannen wrote the play specifically for theater veteran Lola Smith. Lola has been performing on stage since the age of four and a half. A New York native, she joined the fabled Bird-on-a-Cliff Theater Company in Woodstock in 1946, working alongside luminaries such as Jose Quintero and Theodore Mann. After marrying banker and sometimes actor Martin Smith, Lola relocated to Brazil, and performed with a thriving English-language theater company in Sao Paulo. On returning to New York in the late 1960s, she continued acting with an Off-Off-Broadway regional theater group. Lola settled in San Miguel in July 1986, and almost immediately became an assistant to Robert Somerlot, head and co-founder of Players Workshop. She joined the Players Workshop board, starred in over twenty-five of the company's productions, and directed as many.

In May 1947, the House Un-American Activities Committee, known as HUAC, began a crusade against the motion picture industry. HUAC had recently become a permanent congressional body, thanks in large part to Mississippi congressman John E. Rankin, a virulent racist and anti-Semite, who claimed that a Communist plot to overthrow the government of the United States had its “headquarters in Hollywood.” Over the next decade, scores of actors, directors, screenwriters, and other movie people were summoned before HUAC and ordered to disclose whether they now or in the past had been Communist Party members, and to give up the names of fellow members. Ten men, including screenwriters Ring Lardner, Jr., and Dalton Trumbo, defied the committee and went to jail. Others refused all questions on Fifth Amendment grounds, and were blacklisted, unable to work for any of the studios. Many cooperated by giving up the names of their friends.

This dark period in American history is the backdrop for The Cauldron of Fire, a dramatic monologue which received its world premiere in January 2018 at the San Miguel Playhouse.

The play takes place in January 2018, in the Boyle Heights, Los Angeles, apartment of Helen Goldman.

Helen Goldman, a former Hollywood screenwriter, is a woman of Russian-Jewish descent born in New York City in 1920. Now 97 and one the last survivors of the Hollywood blacklist, Helen has arranged a fateful meeting with another survivor, a director. Goldman was a non-cooperator who went to prison; the director, meanwhile, named names, and continued with his career.

Fredric Dannen wrote the play specifically for theater veteran Lola Smith. Lola has been performing on stage since the age of four and a half. A New York native, she joined the fabled Bird-on-a-Cliff Theater Company in Woodstock in 1946, working alongside luminaries such as Jose Quintero and Theodore Mann. After marrying banker and sometimes actor Martin Smith, Lola relocated to Brazil, and performed with a thriving English-language theater company in Sao Paulo. On returning to New York in the late 1960s, she continued acting with an Off-Off-Broadway regional theater group. Lola settled in San Miguel in July 1986, and almost immediately became an assistant to Robert Somerlot, head and co-founder of Players Workshop. She joined the Players Workshop board, starred in over twenty-five of the company's productions, and directed as many.

In May 1947, the House Un-American Activities Committee, known as HUAC, began a crusade against the motion picture industry. HUAC had recently become a permanent congressional body, thanks in large part to Mississippi congressman John E. Rankin, a virulent racist and anti-Semite, who claimed that a Communist plot to overthrow the government of the United States had its “headquarters in Hollywood.” Over the next decade, scores of actors, directors, screenwriters, and other movie people were summoned before HUAC and ordered to disclose whether they now or in the past had been Communist Party members, and to give up the names of fellow members. Ten men, including screenwriters Ring Lardner, Jr., and Dalton Trumbo, defied the committee and went to jail. Others refused all questions on Fifth Amendment grounds, and were blacklisted, unable to work for any of the studios. Many cooperated by giving up the names of their friends.

This dark period in American history is the backdrop for The Cauldron of Fire, a dramatic monologue which received its world premiere in January 2018 at the San Miguel Playhouse.

The play takes place in January 2018, in the Boyle Heights, Los Angeles, apartment of Helen Goldman.

Helen Goldman, a former Hollywood screenwriter, is a woman of Russian-Jewish descent born in New York City in 1920. Now 97 and one the last survivors of the Hollywood blacklist, Helen has arranged a fateful meeting with another survivor, a director. Goldman was a non-cooperator who went to prison; the director, meanwhile, named names, and continued with his career.

Fredric Dannen wrote the play specifically for theater veteran Lola Smith. Lola has been performing on stage since the age of four and a half. A New York native, she joined the fabled Bird-on-a-Cliff Theater Company in Woodstock in 1946, working alongside luminaries such as Jose Quintero and Theodore Mann. After marrying banker and sometimes actor Martin Smith, Lola relocated to Brazil, and performed with a thriving English-language theater company in Sao Paulo. On returning to New York in the late 1960s, she continued acting with an Off-Off-Broadway regional theater group. Lola settled in San Miguel in July 1986, and almost immediately became an assistant to Robert Somerlot, head and co-founder of Players Workshop. She joined the Players Workshop board, starred in over twenty-five of the company's productions, and directed as many.