Orson Welles, a name synonymous with groundbreaking artistry, began his ascent to stardom in the theater and radio worlds between 1936 and 1940. During this pivotal period, Welles, still in his early twenties, directed a series of high-profile stage productions for the Federal Theatre Project in New York City, showcasing a visionary approach that blended artistic innovation with social commentary. His work during these years laid the foundation for his later
fame, demonstrating a unique ability to reimagine classic texts and infuse them with contemporary relevance, often pushing boundaries in casting, staging, and thematic interpretation. These early theatrical endeavors were not just performances; they were cultural events that cemented Welles's reputation as a prodigious talent.
The Federal Theatre Project: A Crucible for Innovation
Welles's involvement with the Federal Theatre Project, a New Deal program designed to employ artists during the Great Depression, provided him with an unparalleled environment to develop his craft. The project's primary goal was employment, which allowed Welles to hire a vast number of artists, craftsmen, and technicians, enabling him to fill his stages with large ensembles. John Houseman, director of the Negro Theatre Unit in New York, invited Welles to join the project in 1935. Despite already being heavily employed in radio, earning as much as $1,500 a week, Welles invested a significant portion of his radio earnings into his stage productions. This financial contribution allowed him to bypass administrative hurdles, mounting projects more quickly and professionally than might otherwise have been possible. Welles himself noted that President Roosevelt once remarked he was the only operator in history to illegally siphon money *into* a Washington project.
The Federal Theatre Project, under national director Hallie Flanagan, aimed to create relevant art, encourage experimentation, and make live theater accessible to millions of Americans for the first time. This ethos perfectly aligned with Welles's ambitions. His first production for the project was a celebrated 1936 adaptation of Shakespeare's *Macbeth*, featuring an all African-American cast of 150 performers. This production became famously known as the "Voodoo Macbeth" because Welles boldly shifted the setting to a mythical island reminiscent of King Henri Christophe's Haitian court, with Haitian vodou replacing Scottish witchcraft. Opening on April 14, 1936, at the Lafayette Theatre in Harlem, the play was met with rapturous acclaim, instantly hailing the 20-year-old Welles as a prodigy. The production subsequently embarked on a 4,000-mile national tour, including a two-week run at the Texas Centennial Exposition that notably defied segregation laws.
The Mercury Theatre: A New Independent Vision
Following his successes with the Federal Theatre Project, Welles, alongside John Houseman, co-founded the Mercury Theatre. This independent repertory theater company presented Broadway productions from 1937 through 1941, further solidifying Welles's reputation for innovative and politically charged theater. The Mercury Theatre's inaugural production, *Caesar*, opened on November 11, 1937. This was Welles's modern-dress adaptation of Shakespeare's *Julius Caesar*, streamlined into a powerful anti-fascist statement. Actor Joseph Cotten later described it as "so vigorous, so contemporary that it set Broadway on its ear."
The staging of *Caesar* was revolutionary. The set was completely open, lacking a curtain, and the brick stage wall was painted dark red. Scene changes were achieved solely through lighting. The stage featured a series of risers, with squares cut into one at intervals. Lights, designed by Jean Rosenthal, were placed beneath these cuts, pointing straight up to evoke the "cathedral of light" seen at the Nuremberg Rallies. One observer noted that Welles staged it "like a political melodrama that happened the night before." This production, along with *The Shoemaker's Holiday*, moved to the larger National Theatre in January 1938, performed in repertory. The Mercury Theatre's success was so profound that Welles, at just 23, appeared on the cover of *Time* magazine in May 1938, in full makeup as Captain Shotover from his production of *Heartbreak House*.
The Cradle Will Rock: A Testament to Artistic Resilience
Another significant production during this period was Marc Blitzstein's political opera, *The Cradle Will Rock*, which Welles rehearsed in 1937. Its premiere, scheduled for June 16, 1937, at the Maxine Elliott Theatre, was canceled due to WPA project cutbacks. The theater was locked and guarded to prevent government-purchased materials from being used for a commercial production. In a dramatic last-minute decision, Welles announced to ticket-holders that the show would be transferred 20 blocks away to the Venice Theatre. Many cast members, crew, and audience members walked the distance.
However, new obstacles arose: union musicians refused to perform in a commercial theater for lower non-union government wages, and the actors' union declared that the production belonged to the Federal Theatre Project and could not be performed outside that context without permission. Undeterred by the lack of union participation, *The Cradle Will Rock* proceeded with Blitzstein introducing the opera and playing the piano accompaniment on stage, while some cast members performed their roles from the audience. This impromptu performance was met with great reception, showcasing Welles's resourcefulness and the company's dedication to their art. This period of intense theatrical activity, marked by both artistic triumph and logistical challenges, firmly established Orson Welles as a formidable and innovative force in American theater.
