During the Great Depression, Hallie Flanagan was appointed by the Roosevelt administration to create a taxpayer-funded national theater to provide relief for unemployed actors and theater professionals. James Shapiro, in his new book, explores the rise and fall of the Federal Theatre Project, a New Deal program that aimed to bring compelling theater to the masses. Despite reaching millions of Americans through over a thousand productions, the project was ultimately shut down due to political pressure from Martin Dies, a congressman from Texas.
The Federal Theatre Project offered a diverse range of productions, including Shakespeare plays, contemporary drama, and socially relevant pieces. Notable productions included an all-Black version of “Macbeth” set in Haiti, a modern dance project featuring songs of protest, and an adaptation of Sinclair Lewis’s anti-fascist novel, “It Can’t Happen Here.” These productions aimed to engage audiences and promote social awareness during a challenging time in American history.
Shapiro draws parallels between Martin Dies’ persecution of the Federal Theatre Project and later political movements, such as the House Un-American Activities Committee hearings led by Joseph McCarthy. The tactics used by Dies to discredit the project and its participants set a dangerous precedent for censorship and political persecution in the years to come. The eventual defunding of the Federal Theatre Project by President Roosevelt marked the end of an important era in American theater history.
In reflecting on the potential impact of the Federal Theatre Project had it survived, Shapiro raises important questions about the role of art in shaping society. He suggests that a more vibrant theatrical culture, a more informed citizenry, and a more equitable democracy could have emerged from a continued investment in public arts programs. Instead, the legacy of the Federal Theatre Project is marred by political interference and the suppression of creative expression.
Shapiro’s book sheds light on a lesser-known chapter in American history and serves as a cautionary tale about the dangers of political censorship and intolerance. By exploring the rise and fall of the Federal Theatre Project, Shapiro invites readers to consider the power of art to provoke change and challenge societal norms. The lessons learned from this turbulent period in American theater history are as relevant today as they were in the 1930s, reminding us of the importance of protecting creative freedom and promoting diversity in the arts.
