Free, Adult, and Uncensored

"I am asked whether a theatre subsidized by the government can be kept free from censorship, and I say yes, it is going to be kept free from censorship. What we want is a free, adult, uncensored theatre." - Harry Hopkins, WPA Administrator


The Federal Theatre Project (FTP)was part of President Franklin Roosevelt's relief program; the Works Progress Administration (WPA). An ambitious program, led by Hallie Flanagan, the FTP, was a part of the United States' first federally funded arts program. Regional units sprung up around the country.

Thomas Woods Stevens, was appointed as regional director of the Chicago unit. Stevens had conservative, more traditional vision, which placed an emphasis on American repertory plays, vaudeville, and Shakespeare, Henrik Ibsen and Christopher Marlowe.

Stevens' vision was viewed by representaives of the FTP's Play Bureau, as being too limited in its scope, and soon replaced by George Kondolf.

Some of the outstanding productions mounted under the auspices of the Chicago unit were: "It Can't Happen Here"  of their interpretation of this play by Sinclair Lewis, Hallie Flanagan had to say; "I felt that it was stronger than the one presented in New York." "Spirochete" by Arnold Sungaard, a living newspaper which the Chicago Tribune called "a valuable contribution to the anti-syphilis campaign", delt frankly with the problem of sexually transmitted disease. "The Lonely Man" with John Huston as the reincarnated Abraham Lincoln. Ted Ward's "The Big White Fog" was about an African-American hero and his white friend organizing in order to overcome oppression.  "The Swing Mikado", a jazz rendition of the Gilbert & Sullivan operetta  adapted by Harry Minturn, it became the most popular show produced by the Chicago Unit. "Oh, Say Can You Sing", by Sid Kuller & Ray Golden, an irreverent satire of bureaucracy of the FTP. The Show made FTP history by being the first Chicago production to have a 17 month run.

The Chicago Federal Theatre Project built confidence within the growing theatre community and gave many Chicago theatre artists a chance to hear their own voice, a voice that spoke with a pronounced Chicago accent.