Brick Road Theatre will present The Cradle Will Rock. It will mark the Dallas-Fort Worth directorial debut of award-winning actor, Diana Sheehan, with music direction by Bruce Greer and choreography by Kelly McCain.
The Cradle Will Rock has been called “one of the most historically significant pieces of American theater ever written,” and is the only show ever shut down by the Federal government. Composer Marc Blitzstein wrote it in a specific political and social context, but the questions it raises regarding economic power, class structure, agency, hypocrisy, and opposing forces remain as relevant today as in 1937. Rather than accusing or lecturing, this piece uses humor and 1930s musical traditions to reveal and reflect our ongoing challenges, and is a tribute to the artists, who, in 1937, risked everything for art.
Brick Road Theatre will present The Cradle Will Rock. It will mark the Dallas-Fort Worth directorial debut of award-winning actor, Diana Sheehan, with music direction by Bruce Greer and choreography by Kelly McCain.
The Cradle Will Rock has been called “one of the most historically significant pieces of American theater ever written,” and is the only show ever shut down by the Federal government. Composer Marc Blitzstein wrote it in a specific political and social context, but the questions it raises regarding economic power, class structure, agency, hypocrisy, and opposing forces remain as relevant today as in 1937. Rather than accusing or lecturing, this piece uses humor and 1930s musical traditions to reveal and reflect our ongoing challenges, and is a tribute to the artists, who, in 1937, risked everything for art.
Brick Road Theatre will present The Cradle Will Rock. It will mark the Dallas-Fort Worth directorial debut of award-winning actor, Diana Sheehan, with music direction by Bruce Greer and choreography by Kelly McCain.
The Cradle Will Rock has been called “one of the most historically significant pieces of American theater ever written,” and is the only show ever shut down by the Federal government. Composer Marc Blitzstein wrote it in a specific political and social context, but the questions it raises regarding economic power, class structure, agency, hypocrisy, and opposing forces remain as relevant today as in 1937. Rather than accusing or lecturing, this piece uses humor and 1930s musical traditions to reveal and reflect our ongoing challenges, and is a tribute to the artists, who, in 1937, risked everything for art.
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