The Cradle Will Rock

Synopsis

'Why don't you write a piece about all kinds of prostitution - the press, the church, the courts, the arts, the whole system?' - Bertolt Brecht to Marc Blitzstein This play with music, set in 'Steeltown, USA', The Cradle Will Rock tells the story of Larry Foreman and his attempts to unionise and battle the villainous businessman Mr. Mister. Originally directed and conceived by the legendary Orson Welles and produced by John Houseman, The Cradle Will Rock has gone down in theatrical history as the musical that defied an attempted ban by USA Federal Authorities with what may have been the most rousing and poignant opening night ever.

Our Review:

Michael Coveney - 29 November 2010

Marc Blitzstein’s American “labour opera”, first produced in New York in 1937 by John Houseman and Orson Welles, was dedicated by the author to Brecht, and was described by Brooks Atkinson as “the classic proletariat musical drama”.

While Arcola director Mehmet Ergen may subscribe fully to the piece’s angry politics (there’s no way of telling, though he did direct it once before already, at the BAC in 1997), I suspect he chooses rather to mark the transition from the old Arcola to the new one along the road in January with a theatrical blast that is as uncompromising as it is fascinating.

Blitzstein (1905-1964) is clearly influenced by Brecht’s musical collaborator Hans Eisler in songs and marches of acrid melodiousness, ever-changing rhythms, atonal inflections and wonderful vitality. Patti LuPone sang the show’s stand-out item, “The Nickel Under the Foot” when Houseman brought his last American production to the Old Vic in 1985; Alicia Davies is no less touching or...

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Latest User Review

Gareth James - 13 December 2010:

This was originally intended as a double-bill with Pins & Needles which has just finished its run at the Cock Tavern and you can see why (though it would have made for a long evening). They may be the only two musicals with left-wing political content ever to grace Broadway until Billy Elliott! This one is more serious and earnest than the other and is very Brechtian indeed. First staged in 1937, it’s opening is itself an extraordinary story. Directed by Orson Wells, the show was shut down on the day of its first performance because its public funders were concerned at being seen to be promoting such a left-wing show. Though another theatre was found for that evening, the show went on without set, props, costumes or indeed actors or musicians whose unions prohibited them from being on stage or in the orchestra pit. The composer was alone onstage at a piano and when their cues came, the actors stood up in the audience and delivered their songs defiantly from where they were. It’s an allegory of corruption and greed and its targets include a local businessman, his philanthropic wife, spoiled children, a faithless priest and artists who’ve sold out. It’s virtually sung-through and feels more like an opera than a musical. Because its over-riding purpose is to make its sociopolitical points, it’s light on story and characterisation and the music is quite difficult to get into on first hearing. It’s well staged here by Mehmet Ergen with a fine ensemble and pianist Bob Broad playing the whole score. I was particularly impressed by Chris Jenkins passionate performance as unionist Larry Foreman. It’s not a great show but, like Pins & Needles, it’s an important part of 20th century musical theatre history and I’m glad I saw it – but I wish I’d heard the score first....

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