"Composers must come out into the open; they must fight the battle with other workers"
Marc Blitzstein. Blitzstein’s The Cradle will Rock was one of the most powerful pieces of art during the Great Depression ("The Cradle Will Rock", 1). It alone transformed not only Broadway, but also the mentality of the American people during this time of labor, war, and strife. Theatre reached more people during this time than ever before. Under Franklin Delano Roosevelt 's Work Progress Administration 25 million people were exposed to theatre (Miller, n.d.). The Little Steel Strike’s lineage coincides with that of The Cradle will Rock. The story was a revolutionary for the time, the opening performance is a landmark in Broadway history, and it affected …show more content…
Freedom of expression became very hazy and foggy during this period of time. Pressure, as seen in The Cradle will Rock, was put on these artists to try and stifle in their creative ideals and political statements. However, this went for labor strikers as well. This was the first shows that really related and connected with the everyman. It developed a style of singing called misuk (Miller, n.d.). Blitzstein hired actors who sounded like genuine people, not opera singers, helping audiences connect with the characters. He also used storytelling and plot in his music. Before this the actors would sing about how the previous action made them feel, now it was intermingled with the story and song. Power ballads really came into play during this new-formed musical. It drew viewers in. Not only did this show give people a voice, it inspired them to use their own voices. This era was marked by Americans doing what was right, even when powers above them tried to forced them into believing they were wrong. Standing in that audience and singing their anthems, the actors all became Foreman. This act coupled with the potent and authentic message perpetuated this movement. It gave hope and a visual victory for these fighters. Fear did not bind them. They arose and fought for their freedom of speech against the Mr. Mister’s of the
Marc Blitzstein. Blitzstein’s The Cradle will Rock was one of the most powerful pieces of art during the Great Depression ("The Cradle Will Rock", 1). It alone transformed not only Broadway, but also the mentality of the American people during this time of labor, war, and strife. Theatre reached more people during this time than ever before. Under Franklin Delano Roosevelt 's Work Progress Administration 25 million people were exposed to theatre (Miller, n.d.). The Little Steel Strike’s lineage coincides with that of The Cradle will Rock. The story was a revolutionary for the time, the opening performance is a landmark in Broadway history, and it affected …show more content…
Freedom of expression became very hazy and foggy during this period of time. Pressure, as seen in The Cradle will Rock, was put on these artists to try and stifle in their creative ideals and political statements. However, this went for labor strikers as well. This was the first shows that really related and connected with the everyman. It developed a style of singing called misuk (Miller, n.d.). Blitzstein hired actors who sounded like genuine people, not opera singers, helping audiences connect with the characters. He also used storytelling and plot in his music. Before this the actors would sing about how the previous action made them feel, now it was intermingled with the story and song. Power ballads really came into play during this new-formed musical. It drew viewers in. Not only did this show give people a voice, it inspired them to use their own voices. This era was marked by Americans doing what was right, even when powers above them tried to forced them into believing they were wrong. Standing in that audience and singing their anthems, the actors all became Foreman. This act coupled with the potent and authentic message perpetuated this movement. It gave hope and a visual victory for these fighters. Fear did not bind them. They arose and fought for their freedom of speech against the Mr. Mister’s of the