Today marks 80 years since Hallie Flanagan â national director of the Federal Theatre Project â appeared before the House Special Committee on Un-American Activities to answer questions about the New Deal programme she had been leading since its inception.
In her now legendary testimony, Flanaganâs allusion to Elizabethan playwright, Christopher Marlowe â and Congressman Starnesâs rejoinder: âIs he a communist?â â left the room rocking with laughter. Yet, Flanagan herself did not laugh, recognising as she did that: âEight thousand people might lose their jobs because a Congressional Committee had so pre-judged us that even the classics were âcommunisticââ. 
Hallie Flanagan speaking on CBS Radio, 1 January 1936. The Federal Theatre of the Air, under the auspices of the Federal Theatre Project, began weekly programmes on 15 March 1936. Courtesy of Wikimedia Commons.
Flanagan had been head-hunted for the Federal Theatre in 1935 by Harry Hopkins, director of the Works Progress Administration (WPA). Until this point, federal relief during the Great Depression was primarily directed at manual labourers. The Federal Theatre â along with similar projects for writers, artists and musicians â was a game changer, providing federally-funded employment to skilled workers: in this case, playwrights, directors, actors, stage-hands, set-designers and costumiers.
From the outset Flanaganâs stewardship of the Federal Theatre was visionary and far-reaching. This should not have been surprising. In 1926 Flanagan became the first woman to be awarded a Guggenheim fellowship and for 14 months she had travelled throughout Europe studying new theatre. Her meetings with Konstantin Slanislavki and Vsevolod Meyerhold had illuminated radical new ways of working and in Shifting Scenes of the Modern European Theatre (London: George G Harrap & Co., 1929; shelfmark 011805.i.61) Flanagan asserts that Russia, with its workers theatres and innovative methodologies, had the most vital theatre in the world.
Members of Meyerholdâs Theatre-Studio on Povarskaya Street (affiliated to Moscow Art Theatre). Meyerhold is back row, second left. Courtesy of Wikimedia Commons.
After returning to Vassar College in upstate New York, Flanagan established the Vassar Experimental Theatre and soon gained a national reputation for ground-breaking productions. Notable among these was Can You Hear Their Voices? her co-adaptation of a story published in New Masses by then-communist Whittaker Chambers in which the effects of the devastating drought in Arkansas are seen through the eyes of struggling farmers and their affluent Congressman.
With a job that she loved, a husband, a child and three step-children it is hardly surprising that Flanagan initially resisted Hopkinsâ offer of a job in Washington, DC. But after several months, and with the full support of her husband, she accepted. In October 1935 â doubtless reflecting Flanaganâs passionate belief in the transformative power of theatre â the Project boldly declared that: âIts far reaching purpose is the establishment of theatres so vital to community life that they will continue to function after the program of the Federal Project is completed.â 
A subsequent blog will explore the Federal Theatreâs accomplishments more fully. Suffice it to say here that nothing like it has been seen in the United States before or since. In its first three years, thousands of workers created 55,000 performances of more than 900 shows in front of 26 million people, many of whom attended at no cost or for less than one dollar.
Poster for Christopher Marloweâs Faustus. W.P.A. Federal Theatre. 8 January â 9 May 1937. Courtesy of Wikimedia Commons.
Yet, the purportedly âradicalâ nature of the Theatre â together with Flanaganâs own background â held the seed of its undoing.
Flanagan was fully aware of the creation in May 1938 of the House Special Committee on Un-American Activities. Part of the committeeâs brief â under its chair, Martin Dies â was investigating organisations suspected of having communist ties. Looking back at this time, Flanagan notes in Arena: The History of the Federal Theatre (New York: Benjamin Blom, 1965; shelfmark: X.900/3282) that while many people within the WPA laughed about the Dies Committee, to Flanagan herself âit never seemed funnyâ. 
And with good reason.
In July 1938, a Committee member declared the Federal Theatre to be a branch of the Communist Party, offering plays with communist leanings and limiting jobs to members of the Workersâ Alliance. Flanagan immediately issued a press release denying this and spent the next five months trying to appear before the Committee in order to set the record straight.
Finally, on the morning of 6 December she was called to testify. However, unlike Hazel Huffman â a disgruntled Federal Theatre mail clerk who believed herself qualified to denounce Flanagan for being âknown as far back as 1927 for her communist sympathy, if not membershipâ and who received ample time to air her views on the Theatreâs activities â Flanagan, the Theatreâs national director, was allocated just a few hours.
Yet, what a few hours they were. And this extraordinary testimony can be read in full online at the British Library using Congressional Hearings, Digital Collection, 1824-1979.
Within moments of taking the stand, Flanagan flummoxed the Chair with a declaration of her dedication to combating âun-American inactivityâ:
Desperate to re-gain control, the Congressmen quizzed Flanagan on her trips to Russia, her communist sympathies, her belief in theatre as âa weaponâ, the Federal Theatreâs productions, its workforce, their ties to the Workersâ Alliance and more. For much of the time, Flanagan remained on the front foot. And when she asked if she could return after the recess for lunch, Congressman Thomas replied: âWe donât want you back; youâre a tough witness and weâre all worn out.â 
Yet in spite of Flanaganâs best efforts, the national mood was changing. A recent Gallup poll had shown that more than half of all voters were aware of the Committee hearings, and of those, 75% wanted the investigations to continue. 
On 3 January 1938 the Committee concluded that: âA rather large number of the employees on the Federal Theatre Project are either members of the Communist party or a sympathetic with the Communist Partyâ.  And five months later, on 30 June 1939, an Act of Congress denied the Federal Theatre Project further funding thereby bringing an end to an unprecedented national experiment and âthe creative energy that it so miraculously generatedâ. 
To be continuedâŠ
1. Hallie Flanagan. Arena: The History of the Federal Theatre. New York: Benjamin Blom, 1965. Shelfmark: X.900/3282.
2. Manual for Federal Theatre Projects of the Works Progress Administration. October 1935. https://www.loc.gov/item/farbf.00010003/ accessed 5/12/2018.
3. Flanagan, Arena. p. 335.
4. ibid., p. 346.
5. Joanne Bentley, Hallie Flanagan: A Life in the American Theatre. New York: Alfred A Knopf, 1988, p. 326.
6. Flanagan, p. 347
7. John Houseman, quoted in John OâConnor. The Federal Theatre Project: âFree, Adult, Uncensoredâ. London: Eyre Methuen, 1980, p. x. Shelfmark: 81/13870.
Joanne Bentley, Hallie Flanagan: A Life in the American Theatre. New York: Alfred A Knopf, 1988. Shelfmark: 88/22242