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Marc Blitzstein's searing political musical comedy about the Everyman against the powers of corruption. Directed by David Fuller. This 1937 fierce and riveting musical comedy about the fight of the everyman against the power of corruption has a history as exciting as the musical itself. It was originally a part of the Federal Theatre Project, and was directed by Orson Welles, and produced by John Houseman. When the original production was shut down due to what most believe was an objection to the politics of the piece, the theatre was padlocked and surrounded by armed guards. The artists found a way to perform it despite all obstacles, and what resulted was a great and moving moment in theater history. Set in "Steeltown, USA", it follows the efforts of Larry Foreman to unionize and otherwise combat wicked businessman Mr. Mister, and is filled with a cornucopia of memorable characters. Director's Note:
Writer and composer Marc Blitzstein completed his first opera Cradle Will Rock in 1936, in a torrid frenzy of work just weeks after his wife Eva Goldbeck suddenly died. The seeds for the opera were sown while Eva was alive and translating Bertolt Brecht’s Threepenny Novel, when Blitzstein played his song “The Nickel Under the Foot” for Brecht himself. Brecht suggested that this song, about a woman forced into prostitution out of hunger, become the centerpiece for a political opera: "Why don't you write a piece about all kinds of prostitution - the press, the church, the courts, the arts, the whole system?” With encouragement from John Houseman (producer) and Orson Wells (director) Blitzstein played his finished Cradle for Hallie Flanagan, the director of the Federal Theatre Project of the WPA. Flanagan agreed to allow Cradle to be produced under the Federal Theatre Project #891 on Broadway. It became an unforgettable part of theatre history.
After the success of Cradle, Blitzstein went on to compose music for two revivals of Shakespeare’s King Lear (1950, 1956) and Lillian Hellman’s Toys in the Attic (1960). Two more of his works were produced: the opera Regina (1949) and the musical comedy Juno (1959). Blitzstein is also well known for his English language adaptation of Bertolt Brecht’s Threepenny Opera (1954). He was called before The House Un-American Activities Committee (HUAC) in 1958, but while he admitted to having been a member of the communist party, he refused to give up any information and HUAC let him go without any further incident. On the night of January 21, 1964 he was stripped, robbed and beaten to death by three sailors he was trying to pick up at a bar in the Caribbean.
The story of the opening night of Cradle is perhaps one of the most important stories in American theatre history. Fearing a volatile political message in a time of worker strife, the federal government prevented the scheduled opening on June 16, 1937 at the Maxine Elliot Theatre, posting armed guards. Ironically, the actors union, Actors Equity, went along with this and forbid its members to perform on stage. Determined that the show should go on as planned, and having already sold out the opening, Houseman and Wells managed to find a space and piano. The cast, crew, press and audience marched uptown, just over a mile, to the Venice Theatre. With no actors, no set and one spotlight, Blitzstein sat at the piano onstage, determined to play and sing the entire show himself. The actors, who had been encouraged by Blitzstein to exercise their freedom of speech, but who were risking their livelihoods in a time when jobs were scarce, one by one joined Blitzstein in singing the show – prevented from appearing on stage, they performed from among the audience!
Cast: Damron Russel Armstrong*, Michael Baxter*, Douglass Anne Cartwright, Sara DeLaney*, Tessa Faye*, Matthew James Gray*, Dan Hermann, Greg Horton* (Innovative Theater Award Winner 2006, Outstanding Male Lead, The Singapore Mikado, Three time OOBR Award winner), David M. Janett*, Elizabeth Kensek*, Bellavia Mauro*, Christopher Michael McLamb*, Robert Meksin*, Bill Newhall*, Michael C. O'Day*, Josh Powell*, Sarah Rebeka*, Chris Vaughn*, and D. Zhonzinsky*.
*Appearing courtesy of Actors Equity Association Musical Director - Eric Thomas Johnson Choreographer - Judith Jarosz Lighting & Set Designer - Giles Hogya
Costume Designer - Viviane Galloway Asst. Director - Carissa Cordes Asst. Stage Manager - Alexandra Alvarez. Asst. Director Carissa Cordes Asst. Stage Manager Alexandra Alvarez. Website |
