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In the Heat of the Night:
Encore exclusive interview with director Joe Tantalo
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In 1965, the John Ball novel In the Heat of the Night struck a chord strung with racial tension that has ceased to stop resonating.
Our hero, Vigil Tibbs, a black homicide detective from Philadelphia, is visiting his mother in a Southern town laden with racism. A murder occurs under Tibbs’ feet as he passes through. Subjected to the racial profiling prevalent in this culture, he is falsely accused of the crime. With his superior detective skills, Tibbs proves his innocence and then proceeds to become the authoritative force on the case.
The story was remade into a 1967 film of the same name, along with a television series that ran seven seasons, from 1988–1995. Now director Joe Tantalo and Godlight Theatre are set to debut a new telling of the relentlessly poignant saga on March 19th. Encore got a chance to ask Tantalo a few questions about the stage adaptation Godlight is working with.
With which version did you first experience the story?
My first exposure to In the Heat of the Night was the 1967 film. It was always a favorite of my father, and so the movie would be playing every now and then in our house. When the television series aired, I loved it. Some time late in high school, I picked up the book and always had an interest in developing In the Heat of the Night for the stage. So, I’ve been thinking about this for a while!
Which version of the story do you think is most present in the minds of your audience?
That’s an interesting question. Depending on which generation you’re talking with, some know the Poitier/Steiger movie very well, while the younger generation is more familiar with the Carroll O’Connor television series. Sadly, many younger people that I’ve spoken to have never seen the movie, so it’s my sincere hope that this project will spark an interest in experiencing a landmark piece of cinema. I think regardless of generational gaps, In the Heat of the Night is a title that will resonate strongly within our audiences.
Which version (if any) was your primary source?
The primary source of our stage adaptation is John Ball’s novel, which of course is the inspiration for the film and the television series. As I mentioned, Mr. Ball’s novel has been on my bookshelf for years because I was always curious about the source of this terrific story. In early 2007, I began the process with Mr. Ball’s estate to acquire the rights to the novel and, shortly after, I attached Matt Pelfrey to adapt the book.
Do you believe your version to be “true” to any of the previous versions?
The question that keeps popping up is: “Is the book like the movie or TV show?” Mr. Ball’s novel shares many of the same characters, famous lines and plot with the movie (and to some extent with the television series), so the theatrical version will not disappoint. But the audience is in for an experience that will be unexpected and familiar all at once. And that for me is the great fun.