Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times [NOOK Book]


Under the direction of a five-foot redheaded firecracker, Hallie
Flanagan, the Federal Theater Project managed to turn a WPA relief
program into a platform for some of the most inventive and cutting-edge
theater of its time. This daring experiment by the U.S. government...
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Furious Improvisation: How the WPA and a Cast of Thousands Made High Art out of Desperate Times

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Under the direction of a five-foot redheaded firecracker, Hallie
Flanagan, the Federal Theater Project managed to turn a WPA relief
program into a platform for some of the most inventive and cutting-edge
theater of its time. This daring experiment by the U.S. government in
support of the arts electrified audiences with exciting, controversial
productions. Plays like Voodoo Macbeth and The Cradle Will Rock
stirred up politicians by defying segregation and putting the spotlight
on social injustice, and the FT P starred some of the greatest figures
in twentieth-century American arts-including Orson Welles, John
Houseman, and Sinclair Lewis. Susan Quinn brings to life the politics of
this desperate era when FDR, Eleanor Roosevelt, and the chain-smoking
idealist Harry Hopkins furiously improvised programs to get millions of
hungry, unemployed people back to work. Quinn's compelling story of
politics and idealism reaches a dramatic climax with the rise of Martin
Dies and the House Un-American Activities Committee, which turned the
FTP into the first victim of a Red scare that would roil the nation for
the next twenty years.
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Editorial Reviews

Publishers Weekly

Quinn (Marie Curie) does a superb job of recounting the rise and fall of the Federal Theatre Project, a wing of FDR's WPA meant to employ playwrights and actors while providing diversion and inspiration for Depression-ravaged Americans. Quinn shows how, under the management of the irrepressible Hallie Flanagan, the left-leaning FTP facilitated such controversial masterpieces as Triple-A Plowed Under and The Cradle Will Rock while unintentionally setting the stage for the House Un-American Activities Committee and much of the red-baiting and blacklisting of the 1940s and '50s. The Daily Worker applauded FTP projects such as a dramatization of Sinclair Lewis's antifascist novel, It Can't Happen Here. Among the actors, directors and writers sponsored by the program were John Houseman, Orson Welles, Will Geer and Meyer Levin. Experimentation thrived: Welles oversaw an all-black production of a "voodoo" version of Macbeth that played Broadway and toured nationwide. All of this Quinn describes eloquently and artfully, summoning a not-so-distant time when a nation bled and great artists rushed as healers into the countryside. B&w photos. (July)

Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Library Journal

When Hallie Flanagan became the director of the WPA's Federal Theatre Project (FTP), no one imagined that she would use a federal relief program to offer some of the most cutting-edge and inventive theater seen on the American stage. Quinn, author of two outstanding biographies (Marie Curie; A Mind of Her Own: The Life of Karen Horney), focuses on the Roosevelt administration and the Depression, spotlighting one of the most compelling periods of American theater. Orson Welles, John Houseman, Sinclair Lewis, and others brought to audiences such controversial productions as The Cradle Will Rock and an all-black production of Macbeth for the residents of Harlem. Quinn's well-written narrative is both fascinating and frightening as politics and idealism come to metaphorical blows with the rise of Martin Dies. Under his leadership, the House Un-American Activities Committee made the FTP the first victim of the Red Scare; in 1939, Congress and a reluctant President Roosevelt eliminated funding for the FTP and other WPA programs. Recommended for all large public libraries and all academic libraries. (Index not seen.)
—Susan L. Peters

Kirkus Reviews
Insightful, judiciously selective history of the Federal Theatre Project (FTP), the most controversial branch of the New Deal's Works Progress Administration (WPA). There have been quite a few books about the FTP, most notably Arena (1940), the comprehensive first-person account by FTP head Hallie Flanagan. Nonfiction pro Quinn (Human Trials: Scientists, Investors, and Patients in the Quest for a Cure, 2001, etc.) sensibly opts to craft a focused narrative that takes a few representative productions from the FTP's sprawling repertoire to highlight the project's evolution and the difficulties that plagued it. In early 1936, Ethiopia initiated the Living Newspapers, which dealt with current events in a dramatic, experimental style, fulfilling Flanagan's vision of a truly democratic national theatre that would educate as well as entertain. The sensational "voodoo Macbeth" spotlighted the talents of the FTP's Negro unit and the genius of 20-year-old director Orson Welles. The FTP's enlightened racial policies, Quinn suggests, enraged conservative politicians even more than its alleged left-wing sympathies. It Can't Happen Here, which opened at 15 theatres on October 27, 1936, reiterated Flanagan's commitment to challenging political theatre. But by mid-1937, when the storm over Marc Blitzstein's labor opera The Cradle Will Rock led to Welles's departure from the FTP, Flanagan could no longer count on the unwavering backing of WPA head Harry Hopkins. The New Deal did not have the same overwhelming public support that had launched the WPA in 1935. Emboldened critics ignored the diverse array of popular theatre produced by the FTP across America-nicely sketched by Quinn in several chapters aboutFlanagan's cross-country travels-and painted the entire outfit as a hotbed of communists in the egregiously unfair hearings held by the House Committee Investigating Un-American Activities (which later became HUAC). On June 30, 1939, to save the rest of the WPA, President Roosevelt reluctantly signed a bill that eliminated the FTP. With careful attention to the underlying political and cultural issues, Quinn cogently retells this sad story of "a brief time in our history [when] Americans had a vibrant national theatre almost by accident."Agent: Jill Kneerim/Kneerim & Williams
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Product Details

  • ISBN-13: 9780802779717
  • Publisher: Bloomsbury USA
  • Publication date: 2/1/2011
  • Sold by: Barnes & Noble
  • Format: eBook
  • Edition number: 1
  • Pages: 336
  • Product dimensions: 5.50 (w) x 8.25 (h) x 0.81 (d)
  • File size: 6 MB

Meet the Author

Susan Quinn is the author of two award-winning biographies, about Marie Curie and Karen Horney, as well as Human Trials, which recounts the emotion-laden process of developing a drug for a difficult disease. She lives in Brookline, Massachusetts.
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Table of Contents

Ch. 1 On the Train 7

Ch. 2 Harry 17

Ch. 3 Hallie 27

Ch. 4 Great Plans for Millions 49

Ch. 5 Ethiopia 57

Ch. 6 Triple-A Plowed Under 71

Entr'acte 1 The CCC Murder Mystery 82

Ch. 7 The Simple and the Difficult 90

Ch. 8 Do You Voodoo? 96

Ch. 9 It Can't Happen Here 112

Entr'acte 2 After the Flood 135

Ch. 10 Under a Powerful Star 138

Ch. 11 The Cradle Will Rock 162

Entr'acte 3 I'd Rather Be Right 186

Ch. 12 Chants of the Prairies 192

Ch. 13 The West 204

Ch. 14 Past Is Present 219

Ch. 15 Enter HUAC 239

Ch. 16 Marlowe's Ghost 251

Ch. 17 An Act of Congress 263

Epilogue: Four Febrile Years 281

Selected Bibliography 287

Notes 293

Index 313

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