7.3 The Federal Theatre Project in the United States

The Federal Theatre Project, established in 1935 as part of FDR's New Deal, aimed to employ out-of-work theatre professionals during the Great Depression. Led by Hallie Flanagan, it sought to create a national theater that was affordable, accessible, and socially relevant.

The project produced a wide range of works, from classics to contemporary dramas, addressing pressing social issues. It brought theatre to millions who previously had limited access, democratizing the art form and expanding its audience base. Despite its impact, political opposition led to its termination in 1939.

The Federal Theatre Project: Context and Goals

Historical Context and Establishment

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• The Federal Theatre Project (FTP) was established in 1935 as part of President Franklin D. Roosevelt's New Deal program provided employment for out-of-work theatre professionals during the Great Depression
• The Great Depression, which began with the stock market crash of 1929, led to widespread unemployment and economic hardship across the United States (1929-1939)
• The FTP was one of several arts-related initiatives within the Works Progress Administration (WPA), a larger New Deal agency that provided jobs for millions of unemployed Americans in various fields

Goals and Vision

• The FTP aimed to create a national theater that would provide affordable, accessible, and socially relevant entertainment to the American public focused on regional and community-based productions
• Hallie Flanagan, a prominent theatre director and educator, led the project believing in the power of theatre to educate, inspire, and promote social change
• Flanagan envisioned the FTP as a means of democratizing theatre, making it available to a wider audience and using it as a tool for social commentary and cultural enrichment
• The project sought to decentralize American theatre by supporting regional and community-based productions, challenging the dominance of Broadway and commercial theatre (New York City)

Organizational Structure

• The FTP was organized into five main divisions: New York City, Chicago, Los Angeles, the South, and the Midwest, each with its own regional director and unique theatrical offerings
• This regional structure allowed the FTP to tailor its productions and initiatives to the specific needs and interests of different parts of the country
• Each division had a degree of autonomy in selecting and producing plays, while still adhering to the overall goals and guidelines set by the national leadership
• The decentralized structure of the FTP encouraged experimentation and innovation, as regional directors and theatre artists were given the freedom to explore new forms and content

Federal Theatre Project: Productions and Initiatives

Diverse Range of Theatrical Works

• The FTP produced a wide range of theatrical works, including classical plays, contemporary dramas, musicals, children's theatre, and experimental productions
• This diversity of offerings reflected the FTP's commitment to providing something for everyone, from traditional theatre-goers to those who had never before experienced live performance
• Classical plays, such as Shakespeare's works, were often adapted and re-interpreted to make them more accessible and relevant to contemporary audiences (Voodoo Macbeth)
• Contemporary dramas addressed pressing social and political issues of the time, such as economic inequality, labor rights, and racial discrimination (The Cradle Will Rock)

Notable Productions

• "It Can't Happen Here" (1936), a cautionary tale about the rise of fascism in America, adapted from Sinclair Lewis' novel of the same name
• "The Cradle Will Rock" (1937), a pro-union musical by Marc Blitzstein that faced censorship and controversy due to its leftist themes and allegorical criticism of capitalism
• "Voodoo Macbeth" (1936), a Haitian-inspired adaptation of Shakespeare's play, directed by Orson Welles and featuring an all-black cast
• "One-Third of a Nation" (1938), a Living Newspaper production that focused on urban housing problems and the need for government intervention

Living Newspaper Series

• The FTP's "Living Newspaper" series presented dramatized versions of current events and social issues, combining factual information with theatrical techniques
• "Triple-A Plowed Under" (1936) addressed the plight of American farmers and the impact of the Agricultural Adjustment Act on rural communities
• "Power" (1937) explored the history and politics of the electrical power industry, critiquing the monopolistic practices of private utility companies
• The Living Newspaper productions were known for their innovative staging techniques, use of multimedia elements, and audience engagement

Initiatives for Underrepresented Groups

• The FTP established the Negro Theatre Unit, which provided opportunities for African American theatre artists and produced works that addressed racial issues
• The Negro Theatre Unit staged productions across the country, showcasing the talents of black actors, directors, and playwrights who had been largely excluded from mainstream theatre
• The project's Children's Theatre division created productions and educational programs aimed at young audiences, recognizing the importance of introducing theatre to children
• Children's Theatre productions often featured adaptations of classic fairy tales and children's literature, as well as original works that addressed issues relevant to young people (Pinocchio, The Emperor's New Clothes)

Cultural Impact of the Federal Theatre Project

Democratization of Theatre

• The FTP brought theatre to millions of Americans who had previously had limited access to live performances, democratizing the art form and expanding its audience base
• By offering low-cost or free tickets, the FTP made theatre accessible to working-class and low-income audiences who had been largely excluded from commercial theatre
• The project's emphasis on regional and community-based productions helped to decentralize American theatre, challenging the dominance of Broadway and commercial theatre
• The FTP's touring productions brought theatre to rural and underserved areas, exposing new audiences to the power and potential of live performance

Employment and Training Opportunities

• The FTP provided employment and training for thousands of theatre professionals, including actors, directors, playwrights, and technicians, many of whom went on to have significant careers in the performing arts
• The project offered a lifeline to theatre artists who had been struggling to find work during the Great Depression, allowing them to continue practicing their craft and developing their skills
• Many notable figures in American theatre, such as Orson Welles, John Houseman, and Arthur Miller, gained valuable experience and exposure through their involvement with the FTP
• The FTP's emphasis on experimentation and innovation encouraged the development of new theatrical techniques and styles, which would go on to influence the larger American theatre landscape

Social and Political Engagement

• The FTP's productions often addressed pressing social and political issues of the time, such as economic inequality, labor rights, and racial discrimination, sparking public discourse and debate
• By using theatre as a means of social commentary and critique, the FTP helped to establish the idea of theatre as a tool for social change and political activism
• The project's willingness to tackle controversial subjects and challenge the status quo reflected a larger shift in American theatre towards greater social and political engagement
• The FTP's legacy can be seen in the enduring commitment of many theatre companies and artists to socially engaged and politically relevant work

Influence on American Theatre

• The FTP's experimental productions and innovative staging techniques pushed the boundaries of theatrical form and content, influencing the development of American theatre in the decades that followed
• The project's emphasis on regionalism and community-based theatre helped to foster the growth of local theatre scenes and the emergence of new voices in American drama
• The FTP's success in attracting new audiences and democratizing theatre challenged the commercial theatre establishment and paved the way for the development of non-profit and regional theatre movements in the post-war era
• Many of the artists and techniques associated with the FTP, such as the "Living Newspaper" format and the use of theatre as a tool for social critique, continued to shape American theatre long after the project's demise

The Federal Theatre Project: Termination and Legacy

Political Opposition and Controversy

• The FTP faced increasing political opposition and accusations of communist sympathies, particularly from the House Un-American Activities Committee (HUAC), which investigated alleged communist influence in the project
• Critics argued that the FTP's productions were too politically radical and that the project was a waste of taxpayer money, despite its relatively small budget compared to other New Deal programs
• The FTP's willingness to tackle controversial subjects and challenge the status quo made it a target for conservative politicians and media outlets, who accused the project of spreading communist propaganda
• The political backlash against the FTP reflected a larger climate of anti-communist sentiment in the United States during the late 1930s, which would intensify in the years following World War II

Termination and Aftermath

• In 1939, Congress cut funding for the FTP, citing both political and financial reasons, effectively ending the project after just four years of operation
• The termination of the FTP was a blow to the thousands of theatre artists and workers who had found employment and creative outlets through the project
• Many of the FTP's productions and initiatives were left unfinished or were forced to find alternative sources of funding and support
• The abrupt end of the FTP also had a chilling effect on the larger American theatre community, as artists and companies became more cautious about engaging with politically controversial subjects for fear of losing support

Legacy and Impact

• Despite its short lifespan, the FTP had a lasting impact on American theatre, demonstrating the potential for government support of the arts and the power of theatre to engage with social and political issues
• The project's success in bringing theatre to new audiences and democratizing the art form helped to pave the way for the development of non-profit and regional theatre movements in the post-war era
• Many of the artists and techniques associated with the FTP, such as Orson Welles, John Houseman, and the "Living Newspaper" format, continued to shape American theatre in the years following the project's termination
• The FTP's legacy can be seen in the enduring commitment of many theatre companies and artists to socially engaged and politically relevant work, as well as in the ongoing debates over public funding for the arts in the United States

Ongoing Relevance and Debate

• The FTP's story remains relevant to contemporary discussions about the role of government in supporting the arts and the importance of theatre as a means of social and political engagement
• The project's termination raises questions about the vulnerability of arts funding to political pressures and the challenges of maintaining artistic freedom in the face of censorship and opposition
• The FTP's legacy continues to inspire theatre artists and advocates who believe in the power of theatre to effect social change and promote cultural democracy
• The ongoing debates over public funding for the arts in the United States, particularly in times of economic hardship or political polarization, often reference the FTP as a case study in the potential benefits and risks of government support for the arts