How appropriate — another agitprop stage work in the midst of serious economic concerns. One wonders if any other city in the USA, per capita, has seen so many. Recalling the most recent of these, San Diego Repertory Theatre and the Old Globe just closed fine productions, respectively, of Bertolt Brecht and Kurt Weill’s “Threepenny Opera” and Stephen Schwartz’s “Working,” both of which pay respects to hard work, honest or not, and alongside that celebration of the common worker lambaste corporate and business interests and practices that may be uncaring at best and corrupt at worst. Now along comes a production and a theater company that puts its money where its mouth is: Stone Soup Theatre, in residence at 10th Avenue Theatre (930 10th near Broadway), in the heart of a downtown pocket as-yet unredeemed and ungentrified, presents Marc Blitzstein’s 1937 play in music “The Cradle Will Rock.” In keeping with the times, all comers pay what they can at the door and the more affluent, in need of an assured seat, pay $25 in advance, online only. Blitzstein, an early translator of “The Threepenny Opera” from its original German to English, was inspired by Brecht’s work to write his own revolutionary work. Sponsored by the Works Progress Administration’s Federal Theatre Project, produced by John Houseman and directed by Orson Welles — needless to say those two did not always see eye to eye — “The Cradle Will Rock” was barred from opening by government committee and unions alike. Protestors, actors and potential attendees marched to an alternate theater and the actors contributed music and lines from their seats, so as not to ruin their union status. Tim Robbins’ 1999 film titled “Cradle Will Rock” relates this historical aspect. The musical, as presented by Stone Soup, directed by Lindsey Duoos Gearhart with an ensemble of 12 stalwarts of wildly varying vocal and acting competency, most in multiple roles, is only partially heard in the film. Rife with Blitzstein’s spiky and difficult music, his torrent of words and lyrics, the piece is challenging and nearly intelligible, at least to ears accustomed to listening intently. Others complained the task was too much. This is not a relaxing, escapist evening in the theater, but it is a piece of history as well as a piece of theatrical history, and therefore important. Even though the Great Depression is waning, the prostitute still sells her body for next to nothing, and there’s a metaphor for many, willing to do anything to advance themselves or put food on the table. Corporate greed is rife in the land. The citizens of a steel-manufacturing town confront corruption, which is everywhere in a society that’s pretty much in the pocket of Mr. Mister, owner of the local steel mill. He’s got his finger on the pulse of the press, the priest, the druggist, the immigrants and the prostitute. He blows up or hires a hit on anything or anyone that gets in his way. One man chooses to fight Mr. Mister by lobbying for union shops. That is Larry Foreman, forcefully portrayed by Christopher T Miller. Other company standouts include Calah Beck as the Editor Daily, Andy Collins as the Druggist, Sarah Michelle Cuc as Mrs. Mister, Brett Daniels as Mr. Mister, Katie Harroff as Moll the prostitute and Bryan Curtiss White as Rev. Salvation. Other ensemble members are Tom Doyle, Amy Northcutt, Doug Shattuck, Anthony Simone and Billy Thompson. The impressive Thompson is musical director. Gearhart created the scenic ambience, which comprises a platform with chairs at the far end of a rectang-ular playing area that has seating on three sides. The interesting backdrop comprises newspaper clippings from news media of the historic era. Don’t miss the materials on display in the lobby. Performances continue at 8 p.m. Thursdays through Saturdays and 7 p.m. Sundays through April 26. Pay what you can at the door, or obtain $25 advance tickets at www.stonesouptheatre.net. For information, call (619) 287-3065.
