Syracuse Stage’s production of Marc Blitzstein’s musical ‘The Cradle Will Rock’ strikes at the perfect time. With the New York State Public Employees Federation facing more than 3,000 layoffs and Occupy Wall Street protestors fighting for a voice in the media, the musical about workers revolting against upper-class greed feels wildly resonant.

Despite its relevance, ‘Cradle’ and its symbolic approach can often be dense and downright difficult to understand. Luckily, the show’s disjointed progression and Rodney Hudson’s meticulous direction allow the ‘Cradle’ cast to deliver inspired performances that enlighten as much as they entertain. ‘The Cradle Will Rock’ will play at Syracuse Stage until Oct. 8.

Set in the fictional Steeltown, United States, ‘Cradle’ examines the relationship between labor unions and society’s upper crust. At the top of the ladder, a Rockefeller-meets-Big-Brother figure named Mr. Mister (Amos Vanderpoel, senior acting major) presides over a suspiciously union-like, anti-union group called the Liberty Committee. Several committee members are mistakenly jailed for the union activity of Larry Foreman (David Siciliano), a worker hellbent on causing a shift in power. The story unfolds with flashbacks of the committees’ misdeeds.

Flashbacks gave each cast member a number to showcase his or her talents, allowing the performers to raise the bar. One such vignette belonged to junior musical theater major Katie LaMark, who played three different characters. However, it was her infectious portrayal of Sister Mister, Mr. Mister’s flirtatious daughter, that nearly stole the show. Though Sister Mister’s incestuous relationship with her perhaps too loving brother, Junior Mister (Eric Meyers), drew the audience’s attention, LaMark’s performance transcended the scene’s shock value. Her every gesture was interesting and intentional. In each of LaMark’s three roles, her distinct voice shone through.

Mary Claire King, a senior musical theater major, also delivered a compelling performance as Mrs. Mister, Mr. Mister’s wife and subordinate. King’s ingenious character choices fueled her dynamic vocal performance. With each syllable, King’s voice fluttered back and forth in a sort of verbal slapstick. Her crooked posture and maniacal energy were also enhanced by her commitment to portray Mrs. Mister. Freezing for minutes during multiple scenes, King never broke character.

However, Siciliano’s epic portrayal of union leader Larry Foreman was the show’s crown jewel. Making his first appearance at the beginning of Act II, the junior acting major brought freshness to the show, reigniting the audience’s interest. Uniquely human and movingly raw, Siciliano’s Foreman was the perfect relief to the caricatures of the elite. With a voice that somehow communicated both vulnerability and strength, and a sense of compassion that compensated for the Liberty Committee’s lack thereof, Siciliano’s character managed to channel the spirit of an entire revolution.

Though the cast was certainly talented, staging and choreography played a major role in the success of the performance. Choreographer Andrea Leigh-Smith’s well-defined blocking transitioned scenes from past to present, and her precise choreography illustrated personal and metaphorical relationships between characters.

Leigh-Smith achieved her greatest success in the final scene of Act I with violinist Yasha (Maclain Whelan Dassatti, junior musical theater major) and painter Dauber (Sean Coyle, a senior acting major). With synchronized, mirrored steps, the two artists pushed and pulled each other into Mr. and Mrs. Mister’s good graces. Though consistently well executed, the choreography at times felt a bit too calculated, especially in the Steeltown University scene when the professors wove in and out of each other while pantomiming a game of football.

Creative lighting design and set functions also played a key role in unraveling the play’s message, inviting audience members to both understand and experience the show. A lowered scrim, a piece of cloth used as a screen, was present at the opening and closing of the show and functioned like the front and back covers of a book. As the show progressed, the scrim lifted, with additional stage light following suit.

At the climax of the second act, the house lights illuminated, exposing the corrupt Liberty Committee for what it truly was: a fist-clenching union by another name. The fourth wall was broken and the situation extended beyond text and the performance. At the end of the show, the lights dimmed and the scrim lowered back into place.

Though ‘The Cradle Will Rock’ is not an easy show to digest, the sheer quality of the performers save the production. Bringing the script to life, the performers deserve nothing less than a full house.

ecsciala@syr.edu