Writing a review of The Cradle Will Rock, after the show played the scheduled three performances, allows for the opportunity to give a shout to The City Center’s series, “Encores! Off-Center.” This new program, unlike the “Encores” series, features seminal Off-Broadway musicals, filtered through the lens of today’s most innovative artists. City Center’s CEO Arlene Ahuler says, “I strongly believe that we need to build a new generation of musical theater lovers,” and,“that’s why the $25 ticket for Off-Center is so important.”
The City Center was established in 1943 by MayorLa Guardia, as New York City’s first performing arts center with the goal of bringing the performing arts to all New Yorkers at affordable prices.
Heading this innovative new series is award-winning composer Jeanine Tesori. Her vision is, “to connect the innovators of today to the shows that expanded creative boundaries in the past, and to see how today’s audiences relate to these stories.” To inaugurate the program,The Cradle Will Rock, Tesori made an inspired choice.
The Cradle Will Rockwas part of the government-sponsored WPA program which put artists to work in their own professions, and was originally produced by John Houseman and directed byOrson Welles. Four days before opening night, the government locked out the production due to its “dangerous politics.” The charismatic Orson Welles led the actors and audience up Broadway to the Venice Theatre where it played with the actors performing from among the audience with the only accompaniment from Marc Blitzstein, who wrote the book, lyrics and music, on the piano. It was a crie du coeur as well as an artistic triumph.The main action takes place on the night of a significant union meeting in Steeltown,USA. It is really American capitalism on trial. Blitzstein, influenced by Bertolt Brecht and Kurt Weill, believed that “music must have a social as well as artistic base,” and went on to say that “it should broaden its scope and reach not only the select few but the masses.” It fits perfectly with the plans and reasons behind “Encore’s! Off-Center” and bodes well for the program’s future. The Cradle Will Rocktells us theatrically where we’ve come from and reminds us that theater can be a thrilling form of entertainment in addition to beingintellectually and socially stimulating. It says, loudly, that theater matters when we consider more than navel gazing, sexual confusion, and teen age pre-occupations,as important subject matter and,further, that there is life after the sandbox.
This not-so-bare-bones,production conceived as a concert reading, scripts in hand, chairs across the stage, with limited staging, is very effective. The cast of 14 is anchored by critic’s favorite Raul Esparza, and go-to character actor Danny Burstein, and supported by a talented, seasoned ensemble, who perform with passion and grace. Sam Gold directed simply and effectively. Overall, a fine production, with a 14-piece orchestra led crisply by Chris Fenwick.
I arrived home from seeingThe Cradle Will Rock, turned on the TV and was smacked with the Zimmerman “Not Guilty” verdict. I couldn’t help think about what Blitzstein, socially conscious as he was, might have thought of it? Playing in my head, in his Trayvon/George Zimmerman “musical satire,” ripped from the headlines, all he’d have to do is transpose what we’ve all seen on TV and read in the papers, all on the record, public and otherwise. He’d have the trial transcripts and the overflow from the press accounts, the pundits, the man on the street, the woman on the phone, Twitter, Facebook; justice with all the window-dressing of transparency in a public display of hypocrisy for the 21st century. I can hear songs from his original score now. He might include the heartfelt anthem sung by an aggrieved black character, “Stand Your Ground.” Remember this is satire, a reflection of the unconscious as well as the conscious. Another idea might be, “Guilty Until Proven Innocent.” A lament about what it is to be a black youth in America today. The cradle will rock!
Storyville– A scrappy musical – runs through August 17th!
Jim Morgan, consummate theatre man, and Artistic Director of The York Theatre Company, has consistently over the past 16years of his reign, brought to the public,original, adventurous, and entertaining new musicals. Small scale, but amply produced and exceptionally well performed. He deserves all the honors and praise that he and The York have attracted. Storyville, a New Orleans musical, with a book by Ed Bullins and music and lyrics by Mildred Kayden, fits the mold nicely. This jazzy musical was directed by Bill Castellino very well and choreographed by Mercedes Ellington with imagination and enormous energy; itenlivened the York’s small but ample stage.
Jim Morgan, a set designer by trade, has created the suggestion of back town New Orleans that let’s his performers live out the story perfectly. His simple touches are perfection. TheMusical Director William Foster McDaniel leading his six-piece combo through their musical increasesour enjoyment. The large cast work well together and fulfill the potential of the piece to the hilt. Bravo to all! Special praise for Zakiya Young,who plays the hot blooded heroine, Tigre Savoy with style and plenty of pizzazz. She is a real looker and can sing and dance with the best of them; one to watch. Finally, we have Ernestine Jackson, always a delight and here she sparkles, sings,dances and holds our attention as Countess Willy Danger, American musical theater to her fingertips. Storyville is plenty of fun and well worth a trip to the York Theater to see it.
