Word: blitzsteinã
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...Sullivan’s “The Mikado.” Anderson later returned with Catherine L. Vaughan ‘08 for Gershwin’s “Of Thee I Sing.” In “Croon-Spoon,” from Marc Blitzstein??s “Cradle Will Rock,” the different performance experience of singers John D. Kapusta ’09 and Kathy D. Gerlach ’07 was evident; nonetheless, the duet was excellent. The highlight of the evening, however, was Harold Shapero?...
...Bernstein put on Blitzstein??s musical "The Cradle Will Rock," a pro-union, pro-communist show that caused a sensation when it premiered in New York two years earlier...
...goes the legend behind Mark Blitzstein??s musical, which served as the basis of Tim Robbins’ 1999 film of the same name. Like its intriguing opening, the musical itself, which recounts the saving grace of union organizer Larry Foreman against the manipulative Mr. Mister and his corruptive influence over the people of Steeltown, reflects the anti-labor unrest of the New Deal and a distinctly 1930s theatrical sensibility. But the work’s deeply rooted historical relevance didn’t daunt Director Patrick W. Hosfield ’05, who will be bringing...
...impact on a modern audience. Instead, it stays true to sometimes quirky 1930s lingo and the brazenly leftist, pro-union messages. The characters, too, with names like Mr. Mister and Dr. Specialist—not-so-subtle prototypes of social powers and evils—remain perfectly intact from Blitzstein??s original...
Another timeless aspect of the piece sure to draw in the audience is Mark Blitzstein??s score, which attracted both Hosfield and producer Rebecca F. Rubins ’05 to the show, as it did a young Leonard Bernstein ’39 who directed the piece at Harvard in 1939. “The music is fascinating—strange but beautiful,” explains cast member Abby A. Carlin ’04. And the work as a whole, as Rubins points out, is a unique piece of musical theater, with music interwoven into...
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