But with some exceptions, such as
Marc Blitzstein's 1937
This year two awards were given: Gabriel Alfieri (Boston University) will explore how four major composers, Virgil Thompson, Paul Bowles,
Marc Blitzstein, and Leonard Bernstein, worked with various playwrights and directors to compose incidental music for their spoken theater productions; Daniel Margolies (Virginia Wesleyan University) will focus his research on non-mariachi styles of Mexican-American fiddling in south Texas in the twentieth century.
Gabriel Alfieri will explore how four major composers--Virgil Thomson, Paul Bowles,
Marc Blitzstein, and Leonard Bernstein--worked with various playwrights and directors to compose incidental music for their spoken theater productions.
In July, Brock took on the 1937
Marc Blitzstein musical The Cradle Will Rock for the new Encores!
The four included: the Canadian premieres of
Marc Blitzstein's 1930 satirical The Harpies and American composer Steven Serpa's 2010 pastoral opera for countertenor and soprano, Thyrisis and Amaranth; the local premiere of the hilarious 1991 Canadian comic opera, Gisela in her Bathtub, by Neil Weisensel in its Nova Scotian premiere; and Ralph Vaughan Williams's moving 1937 tragedy, Riders to the Sea.
In addition to Hemingway, John Ferno, Helen van Dongen, Irving Reis,
Marc Blitzstein, and Virgil Thomson all labored individually and together, under the creative and brilliant direction of Joris Ivens, selecting and integrating the film footage with sounds, music, script, and narration.
It's All True, (1) Jason Sherman's play about the "runaway" 1937 premiere of
Marc Blitzstein's proletarian musical The Cradle Will Rock (Houseman 274), brings together two central elements of Sherman's work: historically based political theatre and adaptation.
Marc Blitzstein's 1954 English translation was popularised by Louis Armstrong in 1956, and then re-recorded with slightly different lyrics by Bobby Darin, who made the song his own.
Filmmaker and actor Tim Robbins captured that moment in his 1999 film, Cradle Will Rock, taking its (abridged) title from the confrontational labor musical written by
Marc Blitzstein in 1937, which helped to hasten the demise of the Federal Theatre Project.
In support of her viewpoint, Saal points out that
Marc Blitzstein, the creator of the show, noted that it was aimed at the middle class.
Marc Blitzstein - United States pianist and composer of operas and musical plays (1905-1964)