Broadway Theater Review: 1776

 

Elizabeth A. Davis, Patrena Murray, Crystal Lucas-Perry in Roundabout Theatre Company's 1776. Photo: Joan Marcus

1776

Music and Lyrics by Sherman Edwards
Book By Peter Stone, based on a concept by Sherman Edwards
Directed by Jeffrey L. Page and Diane Paulus
Choreography by Jeffrey L. Page
American Airlines Theatre
Through Jan. 8, 2023 

By Lauren Yarger
What if? What if all of the roles played by men in the musical 1776 could be played by women instead. No, make that women, transgender and non-binary (identifying as neither man nor woman) actors? What would happen?

Pretty much nothing new....  at least not in Roundabout Theatre's revival of 1776 which tells the tale of the Founding Fathers as they struggle with the heat, and the conflicting issues of freedom and slavery in the summer of 1776 in Philadelphia as the Declaration of Independence is drafted.

It takes (or at least it took me) some time to get used to the idea of anybody but a man playing characters who are men. For me, gender bending casting is fine if you don't notice it and if it doesn't detract from the storytelling. The script isn't changed and the characters are still men. There are no editorial moments where someone points out the obvious -- that no women were involved in forming the new nation --  save one moment that has a contemporary feel when Abigail Adams (Allyson Kaye Daniel) writes to her husband, John Adams (Crystal Lucas-Perry) that men won't be the only citizens of the new nation:

"By the way, in the new code of laws which I suppose it will be necessary for you to make, I desire you would remember the ladies. Do not put such unlimited power into the hands of the husbands. Remember all men would be tyrants if they could. If particular care and attention is not paid to the ladies, we are determined to foment a rebellion, and will not hold ourselves bound by any laws in which we have no voice, or representation."

But that line is part of the original script, so having a non-male John Adams receive it didn't really change the thought. And Thomas Jefferson being played by an actress (a very talented, violin-playing Elizabeth A. Davis) who happens to be pregnant, kind of added to my inability to engage in that story for a while, especially when Jefferson, unable to write because he is missing the attentions of his young, new bride, gets a connubial visit from another actress playing Martha Jefferson (Eryn LeCroy).  Again, where gender or race manipulations take out  minds away from the story they are better not made.

After a while, I was able to just see actors playing roles, and actually, some seem well suited and step right into character, like Benjamin Franklin (Patrena Murray -- this interpretation is exactly how I imagine Franklin) and Rhode Island's delegate Stephen Hopkins (Joanna Glushak). I am an advocate for more women represented on and behind our theater stages, but I didn't feel a compelling enough reason to justify switching all of the genders in this production.

In Hamilton, for example, where the Founding Fathers and everyone except King George III is played by a person of color, the story of the nation's founding was the same. It just has a more inclusive feel to it -- that our nation's story is everyone's story. That we all are in this together. Changing genders -- and adding transgender and nonbinary actors -- in 1776 makes the statement that Broadway, not necessarily the country --  wants change. A better option would have been to commission an authorized rewrite of Peter Stone's book or to create a brand new musical focusing on the women who weren't in that room: Abigail Adams, Martha Jefferson, Martha Washington, Mrs. Benjamin Franklin, Sally Hemmings, etc. What they endured would make great drama and would make a strong statement about the importance of women in our nation.

There is a subtle message made about racism as some actors who are African American are on the receiving end of dialogue about slavery. But again, more of an impact could be made by putting the words of enslaved Americans to paper in a different story.

One place where the gender bending and staging do not work at all is in the typically compelling "Molasses to Rum" number, where Edward Rutledge (Sara Porkalob) tries point out to his northern anti-slavery constitutional colleagues that while the south uses slaves as part of its economy, the north benefits from it, so they are involved in the institution as well. Something about a person of color singing a song by a character who is supposed to be a white slave owner just didn't work for me. The staging and choreography by Directors Diane Paulus and Jeffrey L. Page suggested big production number instead of highlighting the hate and racism that reveal Rutledge and slavery to be repulsive by the end of the song (if you never have seen John Cullum perform this number, watch the film. It's amazing as he starts as a southern gentleman and builds to a lusty, frenzied, despicable man).

Other songs by Sherman Edwards still hold their own, like "Sit Down, John," He Plays the Violin," Momma, Look Sharp." The show plans a national tour beginning in February in Philadelphia.

1776 makes history at the American Airlines Theatre,  227 West 42nd St., NYC,  through Jan. 8, 2023. roundabouttheatre.org.

Cast:
Crystal Lucas-Perry as John Adams, Gisela Adisa as Robert Livingston, Nancy Anderson as George Read, Becca Ayers as Col. Thomas McKean, Tiffani Barbour as Andrew McNair, Carolee Carmello as John Dickinson, Allyson Kaye Daniel as Abigail Adams/Rev. Jonathan Witherspoon, Elizabeth A. Davis as Thomas Jefferson, Mehry Eslaminia as Charles Thomson, Joanna Glushak as Stephen Hopkins, Shawna Hamic as Richard Henry Lee, Eryn LeCroy as Martha Jefferson/Dr. Lyman Hall, Liz Mikel as John Hancock, Patrena Murray as Benjamin Franklin, Oneika Phillips as Joseph Hewes, Lulu Picart as Samuel Chase, Sara Porkalob as Edward Rutledge, Sushma Saha as Judge James Wilson, Brooke Simpson as Roger Sherman, Salome B. Smith as Courier, Sav Souza as Dr. Josiah Bartlett, Jill Vallery as Caesar Rodney, and Shelby Acosta, Ariella Serur, Grace Stockdale, Dawn L. Troupe and Imani Pearl Williams as Standbys.

Other credits:
Music Supervision by David Chase, Orchestrations by John Clancy, Vocal Design by AnnMarie Milazzo, Music Direction by Ryan Cantwell, Scott Pask (Sets), Emilio Sosa (Costumes), Jen Schriever (Lights), Jonathan Deans (Sound), David Bengali (Projections), Mia Neal (Hair & Wigs), Brisa Areli Muñoz (Associate Director)

FAMILY-FRIENDLY FACTORS:
-- God's name taken in vain

-- minimal language

Covid Protocol:
Vaccine not required.

For all performances of 1776, all audience members seated in the first row of the orchestra will be required to wear approved masks provided by Roundabout. If you purchase tickets in these designated locations you will be required to wear an approved mask. Audience members not seated in this row are encouraged to wear their own masks.