Podcast appearances and mentions of James Shapiro

James Shapiro discusses the historic 1936 Harlem premiere of Macbeth, the Federal Theater Project's creation under Harry Hopkins and Hallie Flanagan, and its significance for democracy during the Depression era.

James Shapiro explains how Rose McClendon and John Houseman established the Negro Unit, hiring a young Orson Welles to direct the revolutionary Macbeth production in Harlem.

James Shapiro details Welles's innovative Voodoo Macbeth, its anti-fascist themes, the racial condescension of white critics, and the production's massive success and subsequent national tour across America.

James Shapiro recounts how the Federal Theater simultaneously staged Sinclair Lewis's anti-fascist play It Can't Happen Here across American cities after Hollywood studios rejected the film adaptation.

James Shapiro discusses Federal Theatre Project plays like One-Third of a Nation, which critiqued housing inequality, and Liberty Deferred, a never-produced play about lynching in America.

James Shapiro details how Congressman Martin Dies used the House Un-American Activities Committee to attack the Federal Theatre Project to gain political power and media fame.

James Shapiro describes how the Dies Committee targets Director Hallie Flanagan using dubious testimony from Hazel Huffman to brand the Federal Theatre Project's plays as communist propaganda.

James Shapiro reflects on the sad later lives of Flanagan and Dies, and debunks a legend involving Orson Welles and a critic of Voodoo Macbeth.

The creators of 'Father Wants Us Dead' bring you a new true crime series about a serial killer you've never heard of and the women who took him down: Someone's Hunting Us. In 2016, a serial killer was preying on Black women and girls he thought no one would miss — and getting away with it. Police in New Jersey never suspected that Khalil Wheeler-Weaver, a nerdy-looking, polite young man from a law enforcement family, was the one stalking the streets and dating apps for his next target. Like 'Father Wants Us Dead' — called one of the best true crime podcasts of all time by Entertainment Weekly — 'Someone's Hunting Us' is a deeply-reported story that honors the victims, investigates the investigators and gets inside the mind of a killer that fooled everyone. ----------- Check out our website for more about our reporting, plus photos and video footage, including Khalil Wheeler-Weaver's full interrogation video: ⁠⁠⁠https://someoneshuntingus.com⁠⁠⁠ Have a question, an idea for our next show, or other feedback? You can contact us on our website or at inbox@someoneshuntingus.com. Someone's Hunting Us is a production of NJ Advance Media, the #1 local news organization providing reporting for NJ.com and The Star-Ledger. The podcast is reported, written, produced and hosted by Daysi Calavia-Robertson, a columnist covering communities of color, and Rebecca Everett, an investigative crime reporter and podcaster. Our executive producers are Christopher Kelly, Jessica Beym, Jeff Roberts, and Jess Mazzola. The podcast is recorded by Alex Graves at Sound on Sound Studios in Montclair, New Jersey. The episode was mixed by Blake Maples, who also composed our music. James‬‭ Shapiro is our associate audio engineer.‬ Special thanks to EqualSpace in Newark, where several of our interviews were recorded. Learn more about your ad choices. Visit megaphone.fm/adchoices

The creators of 'In the Shadow of Princeton' and 'Father Wants Us Dead' bring you a new true crime series about a serial killer you've never heard of and the women who took him down: ⁠Someone's Hunting Us.⁠ In 2016, a serial killer was preying on Black women and girls he thought no one would miss — and getting away with it. Police in New Jersey never suspected that Khalil Wheeler-Weaver, a nerdy-looking, polite young man from a law enforcement family, was the one stalking the streets and dating apps for his next target. Like 'Father Wants Us Dead' — called one of the best true crime podcasts of all time by Entertainment Weekly — '⁠Someone's Hunting Us⁠' is a deeply-reported story that honors the victims, investigates the investigators and gets inside the mind of a killer that fooled everyone. ----------- Check out our website for more about our reporting, plus photos and video footage, including Khalil Wheeler-Weaver's full interrogation video: ⁠⁠⁠⁠https://someoneshuntingus.com⁠⁠⁠⁠ Have a question, an idea for our next show, or other feedback? You can contact us on our website or at inbox@someoneshuntingus.com. Someone's Hunting Us is a production of NJ Advance Media, the #1 local news organization providing reporting for NJ.com and The Star-Ledger. The podcast is reported, written, produced and hosted by Daysi Calavia-Robertson, a columnist covering communities of color, and Rebecca Everett, an investigative crime reporter and podcaster. Our executive producers are Christopher Kelly, Jessica Beym, Jeff Roberts, and Jess Mazzola. The podcast is recorded by Alex Graves at Sound on Sound Studios in Montclair, New Jersey. The episode was mixed by Blake Maples, who also composed our music. James‬‭ Shapiro is our associate audio engineer.‬ Special thanks to EqualSpace in Newark, where several of our interviews were recorded. Learn more about your ad choices. Visit megaphone.fm/adchoices

We welcome legendary runner Chris Finill to the podcast. Chris, a long-time member of Harrow Athletic Club, takes us through his remarkable journey, from being inspired by Olympic champions living on his childhood street to his transition from track events to ultra-marathons. We discuss his famous streak of consecutive sub-3 hour marathons, the debate over modern shoe technology, his experience running across the United States, and what it takes to tackle the hardest races in the world.Chris was born on the same street as Roger Bannister and was babysat by Olympic gold medallist Judy Grinham, giving him an early connection to sports. His early running motivation included running to the shops to beat his previous time.Chris met Roger Bannister in 2004 at the 50th anniversary of the Four Minute Mile, when Roger Bannister was given the freedom of Harrow.Chris's early focus was on steeplechase, which he ran regularly for his club for 20-25 years. He has been a member of Harrow AC since 1974. The club started as a closed club (Old Gaytonians, from his school) and eventually became an open club. Harrow AC recently won the National Athletics League, the highest domestic competition for a club.We discuss with Chris the research into whether his run of 24 or 25 consecutive sub-3 hour London marathons was a world record.Chris believes the claim that modern plated shoes make you 4% faster is "ludicrously high" , noting that athletes only need to believe they are a minute faster to want them.When discussing nutrition Chris emphasises that a runner's diet is what they "averagely eat" day-to-day, year in, year out, not just race-day fuelling.Chris thinks the 24-hour races have been his hardest, especially when running at 4 AM after being on your feet for 16 hours.Chris became curious about running beyond the marathon in his late 30s and began running 100Ks and 24-hour races. In 2011, Chris and a friend ran from the West Coast to New York over the course of 80 days. The idea was inspired by James Shapiro's book Meditations from the Breakdown Lane. The transcontinental run required immense commitment, including Chris having to threaten to resign from his job and his wife driving the support car for 9,000 miles.After an unsuccessful attempt at the Bob Graham Round seven or eight years ago, Chris plans to attempt the Joss Naylor Challenge to get "closure with fell running".

This week, James Shapiro celebrates New York's love affair with Shakespeare; Mark Nayler goes on the hunt for monsters; and Lily Herd introduces this issue's In Brief pages. 'Monsterland: A journey around the world's dark imagination', by Nicholas Jubber'The Perilous Deep: A supernatural history of the Atlantic', by Karl BellProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

James Shapiro wears many hats – author, scholar, cultural historian, consultant to New York's Public Theatre – discusses his work with actors and students, as well as his invaluable books A Year in the Life of William Shakespeare: 1599, The Year of Lear: Shakespeare in 1606, and Shakespeare in a Divided America. Shapiro also shares experiences of working on this summer's Twelfth Night in New York's Central Park; working with Denzel Washington and Jake Gyllenhaal on Broadway in Othello; how he first discovered Shakespeare; what he learns from working with actors; the power of knowing whether a thou is a formal thou or an eff-you thou; being scolded (rightly!) by F. Murray Abraham; whether he prefers to be known as a historian, a mensch, or the Shakespeare Guy; how his thoughts about America have evolved since he wrote Shakespeare in a Divided America; how his correspondence with a Supreme Court justice was the Shakespeare in the coal mine; and how we look at the news for what's happening today but turn to Shakespeare to find out what's at stake. (Length 26:51) The post Shakespearean James Shapiro appeared first on Reduced Shakespeare Company.

This week Bruce speaks about the work or Michael Levin, who is a biologist know for his work on cell cognition and collective intelligence or the idea that electrical signals between cells influence the formation of biological systems. His work has potentially massive implications in cancer research and other fields. Though rarely identified with 3rd way evolution, his work has more than a passing similarity to it. Like 3rd way evolutionists, he seeks to expand evolutionary theory beyond the alleged reductionism of a gene-centric or neo-Darwinian approach. Presumably, these bioelectric effects could be considered a kind of epigenetic or evolutionary process existing outside the genome.However, unlike the 3rd Way evolutionists, he's ready to back up his views with clever and shocking experiments that confront popular interpretations of gene-centric evolution head on.Can Levin's work possibly help us determine who is more right in the argument between 3rd Way evolutionists like Denis Noble or James Shapiro vs mainstream evolutionary biologists like Zach Hancock?Support us on Patreon

Ep. 127 What's Happening in D.C.? This week Kevin, Josh, and Katie discuss Ep. 126 with James Shapiro, and connect it to what is happening with the Kennedy Center and the National Endowment for the Arts in 2025. They dive into some practical and philosophical questions surrounding the politicization of two national arts entities and potential impacts on the live performing arts field. Follow us on social media and let us know your thoughts and questions – https://linktr.ee/nobusinesslikepod Our theme song is composed by Vic Davi.

How well do the collection of assertions called “3rd way evolution” stand up to criticism? Here, in our second of at least 3 episodes on this topic, Bruce considers the criticisms of Denis Noble and James Shapiro by YouTuber and evolutionary biologist Zach Hancock in his epic video on the subject.  Perhaps the role of epigenetics is overstated, Lamarckism is not back,  and neo-Darwinism is not dead after all.

BONUS: James Shapiro working on Broadway's Othello This week's episode had too much for one episode! Enjoy this excerpt that was cut for time where James Shapiro talks about his work on performances, specifically Othello featuring Denzel Washington. James Shapiro (https://www.jamesshapiro.net/) is the author “THE PLAYBOOK: A Story of Theatre, Democracy, and The Making of a Culture War.” Follow us on social media and let us know your thoughts and questions – https://linktr.ee/nobusinesslikepod Our theme song is composed by Vic Davi.

Ep. 126 “The Playbook” with Author James Shapiro This week Katie is joined by author, professor, and Shakespeare Scholar in Residence at the Public Theatre, James Shapiro. They talk about Shapiro's new book “THE PLAYBOOK: A Story of Theatre, Democracy, and The Making of a Culture War” which is the story of the start and end of the Federal Theatre Project in the 1930s. Shapiro shares how this reflects our current time. James Shapiro's (https://www.jamesshapiro.net/) essays and reviews have appeared in the New York Times, the New Yorker, The Guardian, the London Review of Books, and many more. He has been awarded fellowships from the National Endowment for the Humanities, the Guggenheim Foundation, The New York Public Library Cullman Center for Scholars and Writers, and the American Academy in Berlin. Follow us on social media and let us know your thoughts and questions – https://linktr.ee/nobusinesslikepod Our theme song is composed by Vic Davi.

This week we discuss neo-Darwinism vs post-Darwinism. Neo-Darwinism meaning a gene centric view of evolution, which is also called the great synthesis since it unifies natural selection with genetics and paleontology and perhaps even human psychology. Post-Darwinism is a view that emphasizes factors outside random mutation, like epigenetics or the assertion that organisms and cells can alter their own genome in a beneficial way. Here Bruce specifically concentrates on the work of biologist James Shapiro's critical look at Richard Dawkins' neo-Darwinism.We consider, does it really make sense to see our bodies and minds as tools governed by our masters DNA? Does post-Darwinism, also called “third way evolution,” offer a meaningful alternative to both neo-Darwinism and the theism of intelligent design? Does this way of looking at biology say something about the very nature of reality and the laws of physics?This is part 1 of a loose series. Part 2 will cover criticisms of Noble and Shapiro. Part 3 will cover the work of Michael Levin. However, you don't really need to listen to them in order and we provide context each time.James Shapiro's Evolution: A View from the 21 CenturySupport us on Patreon

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Panics of 1938"

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "It Can''t Hppen Here"

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Dance of the Nations"

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinaand the Bull."

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Mikado"

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 federal Theater "She Stoops to Conquer"

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Power"

PREVIEW: MACBETH: FEDERAL THEATRE: Professor James Shapiro, author "The Playbook," presents the national excitement at the Federal Theatre production of Macbeth in 1936- and how it launched the talents of two young actors, Orson Welles and John Houseman. More tonight. 1936 Macbeth at the Lafayette thetr in Harlem

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 Federal Theater "Ferdinand the Bull"

On this week's show, the hosts chew over Nightbitch, Marielle Heller's (Queen's Gambit, Can You Ever Forgive Me, The Diary of a Teenage Girl, MacGruber), fourth feature film. Amy Adam stars as “Mother,” a former artist who has given up her creative pursuits to care for her infant son full-time — a transition so taxing, that she begins dissociating and transforming into a dog at night. And while there's a lot to like here (it's an adaptation of Rachel Yonder's magical realism novel of the same name, for example), does the film ever achieve lift-off?  Then, the three rip Black Doves to shreds, Netflix's latest espionage show starring Keira Knightly, Sarah Lancashire, and Ben Whishaw that has far too many plot holes to name (although, Stephen does try to.) Finally, the panel digs into the strange case of Luigi Mangione, the suspected shooter in the murder of UnitedHealthcare CEO Brian Thompson — and the internet's sardonic, if not jubilant, reaction to the fatal shooting. In the exclusive Slate Plus segment, the panel explores the celebrity look-alike contest: a puzzling and mildly delightful phenomenon that's been sweeping the nation. (Read Nadira Goffe's excellent reporting on the Timothée Chalamet tournament that started it all, here.) FINAL CALL: We are down to the final week! To submit your question for our annual call-in show (for inspiration, check out last year's episode), please call (260) 337-8260 to leave us a voicemail, or record a voice note and email it to us at culturefest@slate.com.  Or, email us at culturefest@slate.com if you just want to gab.  Endorsements: Dana: The Year of Lear audiobook, written by James Shapiro and narrated by Robert Fass.  Julia: Tree.fm — a project by Sounds of the Forest and aporee, where you can tune into forest soundscapes from around the world.  Stephen: A cover of Richard and Linda Thompson's “Down Where the Drunkards Roll,” performed by Loudon Wainwright III and Rufus Wainwright.  Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, the hosts chew over Nightbitch, Marielle Heller's (Queen's Gambit, Can You Ever Forgive Me, The Diary of a Teenage Girl, MacGruber), fourth feature film. Amy Adam stars as “Mother,” a former artist who has given up her creative pursuits to care for her infant son full-time — a transition so taxing, that she begins dissociating and transforming into a dog at night. And while there's a lot to like here (it's an adaptation of Rachel Yonder's magical realism novel of the same name, for example), does the film ever achieve lift-off?  Then, the three rip Black Doves to shreds, Netflix's latest espionage show starring Keira Knightly, Sarah Lancashire, and Ben Whishaw that has far too many plot holes to name (although, Stephen does try to.) Finally, the panel digs into the strange case of Luigi Mangione, the suspected shooter in the murder of UnitedHealthcare CEO Brian Thompson — and the internet's sardonic, if not jubilant, reaction to the fatal shooting. In the exclusive Slate Plus segment, the panel explores the celebrity look-alike contest: a puzzling and mildly delightful phenomenon that's been sweeping the nation. (Read Nadira Goffe's excellent reporting on the Timothée Chalamet tournament that started it all, here.) FINAL CALL: We are down to the final week! To submit your question for our annual call-in show (for inspiration, check out last year's episode), please call (260) 337-8260 to leave us a voicemail, or record a voice note and email it to us at culturefest@slate.com.  Or, email us at culturefest@slate.com if you just want to gab.  Endorsements: Dana: The Year of Lear audiobook, written by James Shapiro and narrated by Robert Fass.  Julia: Tree.fm — a project by Sounds of the Forest and aporee, where you can tune into forest soundscapes from around the world.  Stephen: A cover of Richard and Linda Thompson's “Down Where the Drunkards Roll,” performed by Loudon Wainwright III and Rufus Wainwright.  Podcast production by Jared Downing. Production assistance by Kat Hong. Disclosure in Podcast Description: A Bond Account is a self-directed brokerage account with Public Investing, member FINRA/SIPC. Deposits into this account are used to purchase 10 investment-grade and high-yield bonds. As of 9/26/24, the average, annualized yield to worst (YTW) across the Bond Account is greater than 6%. A bond's yield is a function of its market price, which can fluctuate; therefore, a bond's YTW is not “locked in” until the bond is purchased, and your yield at time of purchase may be different from the yield shown here. The “locked in” YTW is not guaranteed; you may receive less than the YTW of the bonds in the Bond Account if you sell any of the bonds before maturity or if the issuer defaults on the bond. Public Investing charges a markup on each bond trade. See our Fee Schedule. Bond Accounts are not recommendations of individual bonds or default allocations. The bonds in the Bond Account have not been selected based on your needs or risk profile. See https://public.com/disclosures/bond-account to learn more. Learn more about your ad choices. Visit megaphone.fm/adchoices

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935 FEDERAL THEATER

PREVIEW: FEDERAL THEATER: Author James Shapiro, "The Playbook," reminds us that before HUAC assaulted Hollywood, the committee condemned the Federal Theater Project, 1935-39. More tonight. 1853 BROADWAY THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 8 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER 

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 4 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1953 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 3 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 "IT CAN'T HAPPEN HERE"

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 HUAC

It's hard to imagine now, but the United States government wasn't always hostile or indifferent to the arts. In fact, from 1935 to 1939, President Franklin Delano Roosevelt's New Deal Government responded to the Great Depression by staging over a thousand theatrical productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. How did Roosevelt's administration come to hire over twelve thousand struggling artists, including Orson Welles and Arthur Miller? How successful were the plays? And what ultimately shut them down? James Shapiro (The Playbook: A Story of Theater, Democracy, and the Making of a Culture War) joins Jacke for a discussion of the Federal Theatre Project and its legacy. Additional listening suggestions: 548 Shakespeare in a Divided America (with James Shapiro) 374 Ancient Plays and Contemporary Theater (with Bryan Doerries) 624 Top 10 Great Performances (with Laurie Frankel) | My Last Book with James Shapiro The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com.   Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1920 GLOBE THEATER NYC

6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1919 MISSOURI

7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1915 WASHINGTON DC

8/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H rom 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.5  1905 HIPPODROME NYC

4/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 FDR at Pear lwith Nimitz and MacArthur

1/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1924 FDR nominating Al Smith

2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1934 FDR

3/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author)  https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1936 FDR and Sara Roosevelt

PREVIEW: FEDERAL THEATER: SINCLAIR LEWIS: Conversation with Professor James Shapiro of Columbia University regarding his new work, THE PLAYBOOK, telling the vast romantic tale of the five years of the Federal Theater during the Great Depression -- and the anecdotes are endlessly rich, such as this story of Sinclair Lewis preparing his novel IT CAN'T HAPPEN HERE, for the stage across America. MORE TONIGHT and next week. 1929 The Wall Street Crash

Theater is by nature ephemeral: even the greatest of performances are fleeting, thrilling a single audience before disappearing into history. But what if you could travel through time and space to be present at any production? Where would you go, and what would you see? In this episode, friend of the podcast Laurie Frankel (Family, Family) helps Jacke choose the ten best performances they wish they'd seen. PLUS theater expert James Shapiro stops by to discuss his choice for the last book he will ever read. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices