(Marc Blitzstein's) acrid personality is, in fact, the whole show. He, as insolent and sardonic entrepreneur, sits downstage centre at the piano; the actors behind him are his marionettes. The timing and precision of the cast's performances have the cold, military precision of the dance routines of the Radio City Rockettes.
The Cradle Will Rock is a triumph of theatrical goose-stepping. The drama has become de-humanised; it has been made into a marvelous mechanical monster which begins to operate with great efficiency whenever Mr Blitzstein pulls the switch.