Review: It's All True

A Review

From Lyric Stage Company

By R. J. Donovan

Among legendary theater stories, one stands out in a defiant "the show must go on" tradition. The year was 1937. The show was "The Cradle Will Rock," described as a "controversial labor opera." And the force behind it was legendary director Orson Welles.

Lyric Stage is currently presenting Jason Sherman's "It's All True," which chronicles the events leading up to the creation of that controversial production, it's cancellation and it's triumphant presentation.

In 1937, "The Cradle Will Rock" was to be presented by the Actor's
Repertory Company. They later abandoned the pro-union themed project for financial reasons. The play was subsequently picked up by The Federal Theatre Project, a division of Roosevelt's Works Progress Administration (the WPA).

With political tension in the air and on the heels of a strike at GM, the WPA "postponed" all new productions due to finances and reorganization. And while ALL upcoming shows were, indeed, affected, many queried whether "Cradle" was silenced because of money or political censorship. (After all, the theater was padlocked to keep people out.)

Having something truly important to say with their workers' musical, Welles, artistic partner John Houseman and company player Howard DaSilva, pressed on.

Despite having the rug pulled out from under them on opening night, they kept the cast intact, quickly found another theater and led a huge audience through the streets of New York to their opening night performance -- which was presented without costumes and with the composer's lone piano replacing the full orchestra. This massive rearrangement in defiance of the government was maneuvered within the SAME day.

Directed by Spiro Veloudos, "It's All True" looks at the firey interaction between: Welles (Geoffrey P. Burns); Houseman (Robert Saoud); DaSilva (Neil A. Casey); Marc Blitzstein, the closeted composer of "Cradle" (Christopher Chew); his late wife Eva (Julie Jirousek), Welles' wife Virginia (Jennifer Valentine), Olive, a female cast member (also Jirousek) and Jean, the show's stage manager (also Valentine).

Beginning on the day of cancellation and ending with the start of the actual performance later that night, the storyline jumps back and forth in time to fill in the whos and whys.

While "It's All True" has its dramatic moments, it begins at such a breakneck pace with the cast hollering, arguing and talking over each other, there's no where for it to go. The volume level is on high from the moment the lights go up and it stays there.

The themes within "It's All True" are as vital today as they were in 1937. And the way some of the scenes snap one to the next are quite wonderful. However, the passion of what's happening doesn't always involve the audience the way it might.

Intensity is more than just volume.

“It's All True” is is at Lyric Stage, 140 Clarendon Street in Boston, through March 8. For information, call 617-437-7172.

-- OnStage Boston

2/13/03

			A Review From Lyric Stage Company By R. J. Donovan Among legendary theater stories, one stands out in a defiant "the show must go on" tradition. The year was 1937. The show was "The Cradle Will Rock," described as a "controversial labor opera." And the force behind it was legendary director Orson Welles. Lyric Stage is currently presenting Jason Sherman's "It's All True," which chronicles the events leading up to the creation of that controversial production, it's cancellation and it's triumphant presentation. In 1937, "The Cradle Will Rock" was to be presented by the Actor's Repertory Company. They later abandoned the pro-union themed project for financial reasons. The play was subsequently picked up by The Federal Theatre Project, a division of Roosevelt's Works Progress Administration (the WPA). With political tension in the air and on the heels of a strike at GM, the WPA "postponed" all new productions due to finances and reorganization. And while ALL upcoming shows were, indeed, affected, many queried whether "Cradle" was silenced because of money or political censorship. (After all, the theater was padlocked to keep people out.) Having something truly important to say with their workers' musical, Welles, artistic partner John Houseman and company player Howard DaSilva, pressed on. Despite having the rug pulled out from under them on opening night, they kept the cast intact, quickly found another theater and led a huge audience through the streets of New York to their opening night performance -- which was presented without costumes and with the composer's lone piano replacing the full orchestra. This massive rearrangement in defiance of the government was maneuvered within the SAME day. Directed by Spiro Veloudos, "It's All True" looks at the firey interaction between: Welles (Geoffrey P. Burns); Houseman (Robert Saoud); DaSilva (Neil A. Casey); Marc Blitzstein, the closeted composer of "Cradle" (Christopher Chew); his late wife Eva (Julie Jirousek), Welles' wife Virginia (Jennifer Valentine), Olive, a female cast member (also Jirousek) and Jean, the show's stage manager (also Valentine). Beginning on the day of cancellation and ending with the start of the actual performance later that night, the storyline jumps back and forth in time to fill in the whos and whys. While "It's All True" has its dramatic moments, it begins at such a breakneck pace with the cast hollering, arguing and talking over each other, there's no where for it to go. The volume level is on high from the moment the lights go up and it stays there. The themes within "It's All True" are as vital today as they were in 1937. And the way some of the scenes snap one to the next are quite wonderful. However, the passion of what's happening doesn't always involve the audience the way it might. Intensity is more than just volume. “It's All True” is is at Lyric Stage, 140 Clarendon Street in Boston, through March 8. For information, call 617-437-7172. -- OnStage Boston 2/13/03

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