I started producing Marc Blitzstein' s music drama the minute it was written almost two years ago, and I have been producing it almost incessantly ever since.
It is unnecessary to review the fabulous stage history of The Cradle Will Rock. It is enough to say that it has survived, untarnished, as many proposed and supposed productions as I would like to remember, particularly as they were all mine.
I have produced it in different theatres here in the metropolitan district, and out in the steel towns, with different casts and in different ways. I have produced it with and without benefit of orchestra, on illuminated glass wagons, and even in the audience, with and without the audience.
I have produced it entirely without two separate and distinct scenic designers and with and without permission of four theatrical managements, including our own United States Government.
This makes me undisputed world authority on producing The Cradle Will Rock.
I put this claim in print because and not in spite of the significant circumstance that The Cradle Will Rock in its second Broadway run is enjoying its most brilliant success in the entire absence of any production whatsoever.
The work is apparently indestructible. And what is more interesting, it is certainly entirely new.
The arts of Music and the Play have had efficient business relationships in the past, an occasional partnership and a few happy marriages. Here, finally, is their first off-spring. It is a love-child, and besides being legitimate, it looks like both its parents, and it is called a "music drama."
As a matter of fact, it isn't easy to find a title for a new art form.
Just now of course this one has only one real name : The Cradle Will Rock.