Marc Blitzstein's "The Cradle Will Rock", a pro-union operatic work from 1937, is currently experiencing a resurgence through a spirited revival by IN Series. This production brings to life the tumultuous history and enduring relevance of the piece, which faced significant obstacles during its original premiere.
In 1936, Blitzstein composed the initial draft of this "play in music" in just five weeks. The work caught the attention of two key collaborators: a young Orson Welles, then only 21 years old, and producer John Houseman. They secured a place for the play in the Federal Theatre Project, part of the New Deal's Works Progress Administration.
The opera's premiere in 1937 was met with unexpected challenges. Hours before the scheduled performance, the WPA seized the props and costumes, citing a "reorganization" of art projects. This action left 600 attendees stranded outside the locked theater. Many viewed this as blatant censorship of Blitzstein's radical work, particularly its central metaphor equating unchecked capitalism with casual prostitution - a concept approved by the influential playwright Bertolt Brecht.
In response to this setback, Welles and his team quickly organized an alternative venue. They secured the Venice Theatre, located 20 blocks away on Broadway. Gene Rosenthal procured a piano, and the audience followed en masse to the new location. To circumvent union restrictions, Blitzstein performed solo at the piano while cast members sang from their seats.
"This is historic."
This unorthodox premiere became an unexpected success, with notable figures like poet Archibald MacLeish declaring it a historic event. The attempts to suppress the opera inadvertently granted it lasting relevance, a quality fully embraced by the current IN Series production.
Director Shanara Gabrielle's vision for "The Cradle" balances the opera's inherent absurdities with a stripped-down approach. The set, designed by Ethan Sinnott, consists of simple crates bathed in dusky lighting by Paul Callahan. Music director Emily Baltzer skillfully captures Blitzstein's urbane style at the piano, while a talented cast of young local singers brings authenticity to the production.
Standout performances include mezzo-soprano Melanie Ashkar as Moll, soprano Teresa Ferrara as Harriet Druggist, and contralto Cecelia McKinley as Mrs. Mister and Ella Hammer. The male cast members, including baritone Marvin Wayne Allen as Larry Foreman and Rob McGinness as Mr. Mister, deliver strong performances that capture the opera's satirical spirit.
Blitzstein's work, which blends elements of Brechtian epic theatre and influences from composers like Kurt Weill and Hanns Eisler, has left a lasting impact on American musical theater. It has influenced later composers such as Leonard Bernstein and Stephen Sondheim, and has been revived multiple times both on and off-Broadway.
The current production runs through October 13, 2024, at the Goldman Theater, EDCJCC, before moving to the Baltimore Theatre Project from October 18-20, 2024. This revival not only showcases the talents of a new generation of performers but also serves as a reminder of the ongoing relevance of Blitzstein's social commentary in today's political climate.