The opening moments of this prolific, thought-provoking, and radical revival of “1776” illustrate who was missing from John Trumbull’s famous painting of the signers of the Declaration of Independence.
As the cast of female, transgender, non-binary, racially and ethnically speaking arrive on stage, swapping streetwear for period bras and literally stepping into the black strappy shoes of this country’s ancestors, we immediately know this will be a theatrical reimagining of not only history, but the award-winning acclaimed musical. Tony in 1969.
Co-Directors Diane Paulos and Jeffrey L. Paige, applying a bold brush stroke to this image through representation, stage, musical arrangements, and designs. Without changing the narration, it adds layers of context that provide more shades to the music, although sometimes the results are somewhat rudimentary, heavy, or exaggerated.
It’s worth noting that the original concept and music by Sherman Edwards, with Peter Stone’s book, was first revolutionary, in form, content, and narrative achievement, all while working within the mold of a traditional Broadway musical. But history goes on, so do theatrical tastes, aesthetics, and viewpoints, and here the show is decisively large, busy, and well informative. But that’s also worth celebrating “1776.”
Co-director Paige also designs the movement and choreography, which brings her paintings to life — and then some. This “1776” oozes energy, spurs situation and refreshes history, which takes place mostly in the Chamber of the Continental Congress in Philadelphia as these colonial representatives argue over severing ties with England and building what will eventually be a distinctly imperfect union.
Abominable, hated and obsessively determined, John Adams (a hard-nosed Crystal Lucas Perry) leads the independence campaign, along with Benjamin Franklin (Patrina Murray, cheerful as the scene-stealing sage) and Thomas Jefferson (Elizabeth A. Davis).
Leading the hard-line opposition is John Dickinson (Carole Carmelo, in brilliant voice) and other conservatives, who are magnificently portrayed in “Wonderful, Brilliant, Considerate Men”, a prominent and fearsome highlight once again.
In this new texture, some contextual touches work better than others. Certainly the addition of dialogue with Abigail Adams urging her husband to “remember the ladies” in crafting a new nation. And the prospect of two centuries of civic activism and protests gives an epic sweep of the egg. Jefferson’s ownership of slaves is silently and effectively acknowledged by the simplicity of a reluctant brush in the sleeves.
Other options expand but don’t necessarily improve on moments that were already theatrically amazing. While the new choral work in “Momma, Look Sharp” is fantastic under AnnMarie Milazzo’s sound design, bringing Momma literal and awkward on stage for too long isn’t nearly as effective as one the audience holds in their imaginations and hearts.
Inflating the production values of ‘molasses for rum’ only weakens the dazzling and subtle acting and singing of Sarah Burcalope as Edward Routledge, in this scathing critique of New England’s hypocrisy in its involvement in the slave trade. (Repetition of barrel photos also loses a punch in its second round at the end of the show.)
However, singing couldn’t be richer with these beautiful, wide ranged vocals. Giving the production a cool and contemporary accompaniment are John Clancy’s new orchestras under the direction of Ryan Cantwell’s music.
The only two female lead characters: Allison Kay Daniel exhibits beautiful restraint and voice as Abigail Adams, while Erin LeRoy as Martha Jefferson also shines in the first chapter that ends with “He plays the violin” – with Davis playing the instrument. But the number is robbed of his pure joy by performing with ecstasy and ecstasy rather than winks and smiles.
Like Hamilton, this “1776” allows the audience to see history anew through outside eyes, as it recasts classic Trumbull painting in a different light, from a different angle, and offers a more critical perspective, one that inspires, yes, but it also still haunts the lack of completeness.
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