There are many parallels between today’s United States Congress and that of the Continental Congress in Philadelphia portrayed in the musical 1776.
Befuddlement and crippling stagnation are words that come to mind
when referring to both institutions. In the end, at least in the
musical, the delegates from the 13 colonies, practice the art of
compromise so the Declaration of Independence could be forged and
signed. Their diligence and hard-work should be an example to the
current occupants of the White House, House of Representatives and
Senate, which are all too often subsumed by squabbling and partisan
pontifications.
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| The cast of 1776. Photo by Jonathan Steele. |
In 1776, receiving a workmanlike production at the Ivoryton
Playhouse, we are witnesses to history as acrimony and narrow-minded
politics are eventually put aside to shape our nation. Kudos to the
theater, in these tough economic times, for presenting a show with over
24 characters. The set, designed by Starlet Jacobs, is well-appointed,
accurately giving the audience an understanding of the claustrophobic
conditions during the deliberations in the city of Brotherly Love. Kenn
McLaughlin’s straightforward direction gets solid marks for being able
to successfully guide the performers through the many scene changes
without getting into each other’s way. While the pacing is occasionally
slow, some key performers keep the tempo bustling towards its eventual
outcome. He effectively utilizes Jessica Drayton’s Lighting Design to
separate some scenes. Robert Mintz’s understated choreography consists
mostly of an intermittent two-step, and minimal shuffling around the
stage.
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| Mark Aldrich and Josh Powell in 1776. Photo by Jonathan Steele. |
Book writer Peter Stone has done a superb job crafting a show
humanizing such historical figures as John Adams, Benjamin Franklin, and
Thomas Jefferson all the while giving the audience a primer on American
history. It can sometimes be a bit talky (Broadway trivia fun fact—the
musical has the longest interval between songs, thirty-minutes, of any
show in Broadway history), but the combination of the interaction
between characters and the machinations of a government in its infancy
are effective and entertaining.
The score by Sherman Edwards, his lone theatrical effort, is
glorious with nary a miss among them. The songs add zest to the
production and are performed with professionalism and aplomb. The songs
can be playful and humorous as with "Sit Down, John" and “But, Mr.
Adams;" outrageous and gleeful ("The Lees of Old Virginia"), but also
moving ("He Plays the Violin") and solemn ("Molasses to Rum").
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| Members of the cast of 1776. Photo by Jonathan Steele. |
The cast, garbed in period outfits designed by Heidi Hanson, is a
mixed bag of performers, led by Mark Aldrich as the irascible, fiery
John Adams. The actor, passionate and committed in his role, gives a
solid performance as the man who is described as “obnoxious and
disliked.”
Other notable performers in the large cast include R. Bruce Connelly
as a well-rounded Benjamin Franklin, who delivers his witticisms with
self-assured delight to friends and foes alike. Josh Powell is superb
as Pennsylvanian John Dickinson, a staunch defender of the British
crown. While you may disagree with his character’s viewpoints you
cannot fault him for his unswerving convictions. Dino Nicandros is
silky smooth as South Carolina’s Edward Rutledge. Soft-spoken, most of
the time, he also displays an intense commitment to his principles.
Kelly McCormick’s Abigail Adams does not spend much time on stage, but
she makes the most of her appearance especially with her golden voice is
such songs as “Till Then” and “Yours, Yours, Yours.” Andrew
Fehrenbacher’s Thomas Jefferson comes across as being too much in the
background rather than in the foreground. While a supporting role,
there should be more vigor in his time on stage.
1776, ringing forth liberty and freedom at the Ivoryton Playhouse
through July 26. Click here for dates, times, and ticket information.
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