Cradle Will Rock

During the Great Depression, the Federal Theatre Project (FTP) was established under the Works Progress Administration to provide affordable theatre to the masses. Led by Hallie Flanagan, the FTP aimed to deliver artistic performances that could uplift the spirits of the American public during tough economic times.

In New York City, playwright Marc Blitzstein struggles with creative block while working on his latest musical, *The Cradle Will Rock*. He attends a public demonstration where he encounters two imaginary figures, representing his late wife and the famous playwright Bertolt Brecht, who inspire him to make his work more relevant to contemporary issues.

Motivated by his visions, Blitzstein completes *The Cradle Will Rock*, which Hallie Flanagan enthusiastically greenlights for production under the FTP. She recruits the talented director Orson Welles and producer John Houseman to bring this significant musical to life, amplifying its impact and reach.

FTP official Hazel Huffman organizes a gathering for WPA employees to discuss their thoughts on the increasing anti-communist scrutiny. During the meeting, ventriloquist Tommy Crickshaw, who feels unhappy with his current role, finds himself drawn to her as they bond over the political climate and their careers.

After rehearsing Hazel's HUAC testimony, Tommy Crickshaw becomes despondent when Hazel rebuffs his romantic advances. His emotional turmoil leads him to oversleep, and he discovers Sid and Larry performing his act, realizing the deepening crisis of his career.

As anti-communist pressures mount, Hazel Huffman is summoned to testify before the House Un-American Activities Committee (HUAC). Following her testimony, Hazel faces alienation from her colleagues, illustrating the palpable tensions within the FTP amidst political fears.

Margherita Sarfatti, a representative of Mussolini's regime, arrives in New York to secure financial support from American industrialists for the war effort. She encounters influential figures such as William Randolph Hearst and Nelson Rockefeller while generating contentious conversations about fascism and the arts.

Sarfatti facilitates a meeting between Rockefeller and prominent muralist Diego Rivera. Tensions flare when Rivera's artwork, which incorporates communist imagery, is seen as controversial, particularly among Rockefeller and Sarfatti, representing the intersection of art and political ideologies.

Following Hazel's testimony, the future of the WPA and the FTP is threatened by potential budget cuts. Hallie Flanagan passionately defends the FTP before HUAC, but the outcome leads to severe funding reductions, triggering layoffs and project halts, including Blitzstein's musical.

With the FTP's funding cut, Tommy Crickshaw takes to the stage to perform a comedic skit, portraying his ventriloquist dummy as a representation of communism. His performance, filled with irony, underscores his frustration and disillusionment with the current state of affairs.

In response to the cancellation of the FTP production, Welles and Houseman spearhead an unexpected performance in an abandoned theatre. They are joined by Blitzstein, who takes on multiple roles, demonstrating the resilience and passion for theatre even amidst political strife.

As the impending performance approaches, male lead Aldo Silvano faces the challenge of providing for his family, navigating the pressure from both the union and his family's fascist leanings. Meanwhile, female lead Olive Stanton must choose between her loyalty to the production and her successful partnership with costar John Adair.

As the performance begins, Blitzstein captivates the audience with the musical’s inaugural song. Meanwhile, the rest of the cast who remain unseen spring into action, blending the boundaries between the performers and the audience during this historic underground production.

With the makeshift performance concluded, an atmosphere of jubilation envelops the cast and audience. This significant event transforms into a celebration of artistic resilience, amplified by the unity of performers who defy the odds stacked against them.

In a poignant moment, Tommy leads a mock funeral for his ventriloquist dummy, symbolically named 'Federal Theatre Project.' This ceremony takes place in Times Square, marking a bittersweet farewell to the ideals and efforts of the FTP, while celebrating the enduring spirit of theatre.