This post of Marc Blitzstein discussing his theatre works and presenting excerpts with some well-known performers was requested by a reader following my recent reupload of an
obscure Blitzstein LP of recordings from 1946.
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| First cover |
This particular album comes from May 1956, and was the first in a series originally on Westminister’s Spoken Arts imprint intended to inaugurate a Distinguished Composers Series.
At the time, Blitzstein was to have less than eight years to live, and never achieved a success to rival his earlier works, the politically committed musical plays
The Cradle Will Rock and
No for An Answer, and the opera
Regina, adapted from Lillian Hellman’s
The Little Foxes, all of which are discussed and excerpted here.
The composer was nonetheless an important figure in the American musical theatre, one who had a strong effect on other luminaries. When you hear his voice on this record, you may be struck (as I was) with the similarity of his presentation with the familiar eloquence and urbanity of Leonard Bernstein. That is probably not a coincidence. Bernstein was much taken with Blitzstein, organizing and leading a production of
The Cradle Will Rock when the younger artist was still an undergraduate at Harvard.
Orson Welles, similarly, was highly impressed by Blitzstein when Welles was directing
The Cradle Will Rock as a precocious 22 year old. Welles recalled many years later, “When he came into the room, the lights got brighter . . . He was an engine, a rocket directed in one direction which was his opera – which he almost believed had only to be performed to start the Revolution.”
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The Cradle Will Rock production photo, with Blitzstein at the piano,
Howard Da Silva and Olive Stanton |
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While
The Cradle Will Rock did not spark a second American Revolution, it was widely and perhaps surprisingly well received and reviewed despite the radical politics it espoused. Developed through the Depression-era Federal Theatre Project, the play never appeared under its auspices. The conjunction of the play’s leftist views and significant labor unrest at the time of its impending premiere led the government to declare a moratorium on new theatre productions that was plainly aimed at shutting down
The Cradle Will Rock.
As clumsy censorship often does, the effect was to turn the play’s production into a cause
célèbre that Blitzstein, Welles and producer John Houseman turned to their advantage in ways both ingenious and fortuitous. The composer tells the tale of its unusual premiere on this record. The unconventional staging that resulted, with Blitzstein on stage at the piano and the performers appearing from the audience, was highly influential.
This is not to say that the music itself is without precedent. You will not get very far into Blitzstein’s oeuvre without the names Kurt Weill and Bertolt Brecht coming to mind, and indeed today Blitzstein is best remembered for his translation and adaptation of the Weill-Brecht version of
The Threepenny Opera. The composer himself was at pains to say that his works had many other influences than the expressionists, and it is only fair to observe that his songs have their own powerful atmosphere. On this record, “Francie” is highly affecting and even “Penny Candy,” while not in the least to my taste, is decidedly well done.
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| Evelyn Lear |
A few words about the performers on this record.
The well-known soprano
Evelyn Lear made her recording debut on this record. In 1955, newly graduated from Juilliard, she created the role of Nina in Blitzstein's
Reuben Reuben. George Gaynes also was in the cast of that failed musical, among many other Broadway productions and, in later years, television shows.
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| Brenda Lewis and Blitzstein |
Brenda Lewis was another distinguished soprano who first had a success on Broadway as Birdie in the original 1949 production of
Regina. She sings “Birdie’s Aria” here. Lewis later moved on to the title role, assuming it in the complete 1958 recording of the work.
Joshua Shelley, blacklisted by the movie studios in the early 1950s, appeared on stage until resuming a Hollywood career in the 1970s.
Theatre and club performer
Jane Connell appeared in Blitzstein’s production of
The Threepenny Opera.
Alvin Epstein had a very long and distinguished career in the theatre as actor and director. At about the time of this recording, he was on Broadway with Orson Welles in
King Lear.
In addition to the transfer of this Blitzstein record, I have included links to my remastered version of the cast recording of
No for An Answer. This comes from an LP reissue that suffered from substandard sound, which I have done my best to rectify. The original transfer predates this blog.
Jerry Fielding is remembered today as a film and television composer, but before that experience, he was an arranger, radio conductor and bandleader. It’s in the latter guise that we hear him today, in this 1953 10-inch LP for the short-lived Trend label.
