Word: blitzstein
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...music world, however, was full of gifted and influential Jews at the time, such as Aaron Copland, George Gershwin, Kurt Weill, Arnold Shoenberg, and Marc Blitzstein...
...more or less, everything it should be. Stage director Kate D. Greenhalgh ’05 and producer Sarah S. Eggleston ’07 put on a dangerously modern interpretation of a dangerously modern opera, originally written by Bertolt Brecht and translated into English by Marc Blitzstein. LHO’s show will run March 8, 10, 11, 15, 17, and 18, 2006 at 8:30 p.m. in the Lowell House Dining Hall.Set in mid-eighteenth century Soho, London, the opera nonetheless captures the moral ambiguity and social insecurity of Weimar Republic-era Germany, the time period in which...
...story than this one defining event. The movie's opening shot follows the homeless Olive Stanton (Emily Watson) down the streets of New York, then tracks the steps of a nervous, buttoned-down worker (Joan Cusack) tacking up posters for a meeting of anti-Communists, and winds up at Blitzstein's window. Constant life emerges from the movie's seams as Robbins populates his film with a dizzying roster of figures from...
...Euripedes and Christopher Marlowe as Communists. (Most of the great, crackling dialogue in these scenes is taken from actual court records.) We get to see Stanton, played by Watson with a sweet voice and eyes that beam happily for once, step off the streets and into the lead of Blitzstein's play. A giddy socialite (Vanessa Redgrave) departs from the conservative wishes of her husband, publishing giant William Randolph Hearst, to join the theatrical cause. Italian journalist Margherita Sarfatti (Susan Sarandon) tries to make Mussolini's fascism palatable to American industrialists through artistic exchange...
...time film reaches its triumphant conclusion--a spontaneous, bare bones production of Blitzstein's musical, in which all of the cast risk their jobs with the Federal Theater for the sake of a single performance--Robbins' purpose in embracing the subject is both abundantly clear and difficult to refute. The movie suggests that the artistic quality of Blitzstein's work (which, from the bits represented here, seems questionable) matters less than the fact that it was performed. The final, unexpected shot of the film says in no uncertain terms that its message isn't limited to history. Cradle Will Rock...