Works Progress Administration – Analog Artist Digital World

The Cradle Will Rock is a 1937 musical by Marc Blitzstein. Originally a part of the Federal Theatre Project, it was directed by Orson Welles, and produced by John Houseman. The musical is an allegory of corruption and corporate greed. Set in “Steeltown, USA”, it follows the efforts of Larry Foreman to unionize the town’s workers and combat wicked, greedy businessman Mr. Mister, who controls the town’s factory, press, church and social organization. The piece is almost entirely sung-through, giving it many operatic qualities, although Blitzstein included popular song styles of the time.

The production was shut down four days before its opening by the Work Progress Administration,
which stated that due to budget cuts, the WPA was reorganizing its arts
projects, and all openings of WPA plays, musicals, concerts, and art
galleries were to be delayed until after July 1, however, many asserted
that the musical had been censored because the pro-union plot was “too
radical”.
The theatre was padlocked and surrounded by security to prevent anyone
from stealing props or costumes, as these were considered U. S.
Government property. Welles, Houseman, and Blitzstein, seeking a way to privately produce the show, rented the much larger Venice Theatre and a piano just in time for the scheduled preview on June 16, 1937.
The 600 audience members, who had gathered outside the Maxine Elliot
Theatre for the preview, traveled 21 blocks north to the Venice
Theatre; many were on foot. The sold-out house grew even larger when the show’s creators invited people off the street to attend for free.To avoid government and union restrictions, the show was performed with Blitzstein playing piano onstage and the cast members singing their parts from the audience. It was a bold decision for every actor since taking this stance could have ruined their careers. Orson Wells and John Houseman were fired for insubordination. They then formed their own, Mercury Theater Company, which would later produce the radio play War of the Worlds which put Orson Wells on the map allowing him to later direct the movie Citizen Kane using many actors from the Mercury Theater troupe.

Though attempts might be made, it is hard to silence creativity in a democratic society. But it might take one frail voice to make that stand. Students sat in a circle on the empty stage reliving the events in 1937. It is hard to imagine remaining silent when social media makes expressing any idea so easy. Yet who honestly ever swims upstream. We do all we can to swim downstream in school formation.

At a artist workshop at Urban ReThink, someone asked why there is tiny 8 foot tall, Statue of Liberty, at the intersection of North Orange and Magnolia Avenues on the shore of Lake Ivanhoe. I’ve passed this oddity many times and never given it a thought. It isn’t a very creative choice for a public sculpture. It makes it seem like Orlando idolizes gift shop trinkets. This town seems to want to be something for everybody. Like Epcot, we don’t feel the need to travel the world to see the rel thing. The proportions on the tiny statue are a bit off. The extra large torch Lady Liberty is holding makes her seem a bit child like. The money invested in the rock work and gadening alone must have cost a fortune. The Kiwanis Club of Orlando paid for the base.

The statue was donated to the city in 1953 by the Central Florida Council of the Boy Scouts of America. It was one of about 200 such replicas installed across the
nation in the 1950s through a Boy Scout program called “Strengthening
the Arm of Liberty,” The program was part of the Scouts’
40th anniversary celebrations it replaced a big orange concrete ball supported by two stilt-like pillars, built by the Works Progress Administration sometime between 1934 and 1936 that quickly became a victim of graffiti. It must have been a reminder of Orlando’s Citrus industry. The ball, by the way, was moved to a fruit stand in Maitland and later destroyed. A new ten foot high ball shaped sculpture was recently installed at the Orlando County Regional History Center.

.The statue was refurbished in the mid-1980s. She seems to have survived any touch of graffiti and the shrubbery is neatly clipped. Robert G. Neel, president of Woodlawn Memorial Park and Funeral Home, led efforts to restore the statue, which he first noticed while stopped at a traffic light.

This is a busy intersection and I got to stare at each new driver that had to stop at the stop light. Each driver looked at me like I was a mad man. During the hour or so that I was sketching, one pedestrian did walk by on her way to the bus stop. She took quite an interest in what I was doing, and she even had advice on where I could find a better camping stool. A ramp behind the stature leads up to Interstate 4 and the cars are always lined up, rushing to get on Orlando’s primary artery.