By Deanna Dement Myers
‘1776’ – Music and Lyrics by Sherman Edwards; Book by Peter Stone. Co-directed by Austin Pendleton and Kelli Edwards. Production Team: Cristina Todesco, Scenic Designer; Rachel Padula-Shufelt, Costume Designer; Alberto Seggara, Lighting Designer; Lee Schuna, Sound Engineer; Todd C. Gordon; Music Director; Kevin Schlagle, Stage Manager; and Brian M. Robillard, Assistant Stage Manager. Presented by New Repertory Theatre at 321 Arsenal St, Watertown through December 30
“This is a revolution, dammit, we’re going to have to offend somebody!”
Before Hamilton, there was 1776. Debuting on Broadway in 1969, this musical by Sherman Edwards based on the book by David McCullough, about the impassioned debate preceding the signing of the Declaration of Independence, has relevance to the political climate of our time. The New Repertory theater in Watertown presents a racially and gender diverse cast which provides wry commentary and insight into the difficult discussions during the early days of our country.
The opening scene is dry and uncomfortable, as the Second Congressional Congress is being bullied into declaring independence by Massachusetts delegate, John Adams. Defecting from English rule would legitimize the rebellion led by General George Washington and turn it into war. Benjamin Evett as Adams stalks around the stage, frustrated because his fellow delegates refuse to vote on or even discuss his proposals on independence. As the tempers and temperature rises, the cast of 23 implores him to “For God’s Sake, John, Sit Down” and he retorts with, “Piddle, Twaddle” and does not disguise his disgust at the impasse the congress finds itself at. Just when we begin to wonder if all we are going to see is the partisan arguments miring this (and maybe all?) Congress, Adams receives a letter from home and we are treated to a sweetly sung duet between Evett and Carolyn Saxon’s Abigail Adams. As they twine around each other, not quite touching, we get insight into what Adams is fighting for: family and home. Knowing that this play was written in the late 1960s, the arguments Abigail uses on her husband seems less manipulative and more of an employment of her feminine charms. Afterwards, Saxon transforms back into her other character, Roger Sherman, and seamlessly joins the rest of the delegates.
Some of the best scenes are between the supporting characters. Martha Jefferson, fetchingly played by tenor Dan Prior, has a touching reunion with her husband, Thomas (played by African American actor KP Powell), and sings about her love of his instrument in a wonderful rendition of “He Plays the Violin.” A terrific, everyman moment is shown in scene five between the custodian, a workman and a courier. With the delegates out of the room, these men tell how the war is for the common foot soldiers and their families in the definitely anti-war song, “Momma, Look Sharp.”
Several key players are acted by women, including the bawdier-than-you-expected Benjamin Franklin (played by the delightful Bobbie Steinbach), congressional president, John Hancock (Cheryl D. Singleton), the antagonist, John Dickinson (Aimee Doherty), and Southern delegate, Edward Rutledge (Shannon Lee Jones). Having women in these roles shifts the motivation behind the arguments and adds a depth to what each side stands for. “Cool, Considerate Men” danced as a minuet and sung by female voices, changes the crude capitalist sentiment into one where preserving a family’s way of life is a compelling argument. The most powerful song for me, and for the play, is when Rutledge excoriates the Northern delegates for their hypocrisy in “Molasses to Rum.” This song gives historical perspective as to why enslaved people were not included when demanding independence for all men.
Other productions, including the Broadway revival in 1997, stuck to traditional casting. Jim Petosa, the Artistic Director, took a bold stance in his non-traditional casting. This choice was made to allow a 21st century audience to see themselves represented in the founding of our nation. In a brief discussion after the show, Petosa shared his thoughts about why this was important. Much like the Jewish people believe they were all at Sinai when Moses handed down the Ten Commandments, casting 1776 with actors that reflects the audience allows us to have our hand on the pen signing the Declaration of Independence.
Each actor displays a high level of polish and commitment to their characters. This show engages the audience in the political process that was so important to how the United States came to be. 1776 is well worth the three hour run time. For Tickets and information go to: http://www.newrep.org/2018-2019-season/
