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Strike a Chord: The Power of Protest Music

Music Director Phil Heilbron Weaves a Tapestry of Sound for UAF’s STRIKE! A Musical and Dramatic Revue

AV����̳ Department of Theatre & Film is gearing up for its upcoming production, STRIKE! A Musical and Dramatic Revue, devised and directed by Flyn Ludington, set to open March 21st at the Lee H. Salisbury Lab Theatre. This unique production is a powerful blend of dramatic scenes and musical numbers, exploring themes of labor, perseverance, and solidarity. Phil Heilbron, the show’s music director and arranger, has taken on the ambitious task of blending diverse musical styles into a cohesive soundscape.

“Music has always served an essential role in labor organizing,” Heilbron explains. “Woven throughout the show are the tunes sung by those marching, picketing, and striking for better conditions. These songs help remind us of the rich history that this show pulls from.”

With songs and scenes spanning the 20th century, STRIKE! draws from contemporary musicals, traditional protest songs, and works from acclaimed playwrights and poets such as Clifford Odets, Langston Hughes, and Diane Benson. Heilbron describes the challenge of crafting a unifying musical style for such a eclectic selection, noting that the initial idea of a 1920s-30s big band sound didn’t feel right.

“Despite the fact that this show is comprised of musical material from a wide range of eras, styles, and sources, it was Flyn’s intention that they still be able to sound like a cohesive whole. We were initially drawn to the big band sound of the 20s and 30s to replicate a speakeasy style performance, but closer examination, something about that seemed off. Why would union members be meeting in a speakeasy? True, unions and underground clubs share a certain need for secrecy, but beyond this they seem to be at cross purposes and a speakeasies revolve around the consumption of alcohol which has had a complex relationship with labor in the United States since its founding.”

Instead, he found inspiration in the string bands of the late 1930s and 40s. “This Appalachia/bluegrass-inspired sound was how picketing workers would have been singing, striking for better conditions in the coal mines. It’s the style of music that folks would have been performing on the radio as suddenly, for the first time in labor history, local conditions could be transmitted broadly across the country. It’s the style that made such an impact on northern organizers working in the south during the 30s, again spreading it beyond its geographic zone of origin. And it was this style of music which was so fundamental in shaping the popular folk movement of Woody Guthrie, Bob Dylan, Joan Baez, Phil Ochs, Pete Seeger and others.”

The production features both contemporary musical numbers and songs with deep historical roots in the labor movement. For Heilbron, these moments help to ground the play in something beyond traditional musical theatre escapism. He highlights songs like Bread and Roses, Poverty Knock, and particularly Which Side Are You On?, which is woven throughout the show to represent workers’ frustrations and their search for unity. “These songs help remind us of the rich history that this show pulls from. They are not as flashy as the musical theatre songs that they accompany, but through them, we spark glimpses of recognition.”

Heilbron speaks passionately about the power of music to enhance the emotional depth of storytelling. “The classic adage tells us to sing when words cannot suffice, and to dance what cannot be said in song,” he says. One of his favorite musical moments in the show comes during Santa Fe, when the entire cast joins in a wordless, haunting melody that encapsulates their collective yearning for something better. “The music flexes and ripples under that bittersweet feeling of a goal one has and knows is likely impossible,” he describes, noting that this motif recurs throughout the play until it is ultimately transformed into a unifying anthem in the final song.

Despite the artistic rewards, working on the show has not been without challenges. The tight timeline required Heilbron to tailor arrangements to the unique abilities of the cast after the show was already in rehearsal. “A score has to be fit to the particular talents of the performers,” he explains. “Many decisions have to be kept dangling until the show is cast, at which point there is a cast of thirty, clamoring for their script and score.”

Still, the journey has been worth it. Heilbron finds immense satisfaction in moments of musical brilliance from the cast, particularly when they come together in unexpected ways. One of his favorite pieces to direct is Union Square, a number that plays with ragtime influences, subverting them into something new. “Like all the others, there are also a couple satisfying musical references built into the arrangement,” he adds.

As opening night approaches, Heilbron hopes audiences will recognize the profound role music has played in labor organizing throughout history. “Music makes it possible for the many to speak as one and for one idea to sing in harmony.”

STRIKE! A Musical and Dramatic Revue runs March 21-30 at the Lee H. Salisbury Lab Theatre. . Stay tuned for more features highlighting the talented cast and crew behind this powerful production.

AV����̳ Department of Theatre & Film is dedicated to fostering creativity, collaboration, and artistic excellence. Through a wide range of productions, the department provides students with hands-on experience in performance, design, directing, and technical theater. Committed to storytelling that engages and inspires, UAF Theatre & Film explores powerful narratives that reflect both historical and contemporary themes. By blending academic study with practical application, the department cultivates the next generation of performers, filmmakers, and theater-makers.