1776

Reviewed by Holly Bartges

23 men on stage at Littleton’s Town Hall with 24 distinct personalities, 24 varied political points of view, 24 diverse sociological backgrounds, 24 explicit mannerisms, 24 divergent values, with unity hardly being one of them.

Paul Dunne (John Adams), Ken Street (Ben Franklin), and Keegan Flaugh (Thomas Jefferson) in Town Hall's production of 1776.

How easy it has been in the past with productions of 1776 for some characters to get lost in the shuffle, attention falling onto the shoulders of the main characters.

In Town Hall’s production, directed by John Thornberry, every character stands out. These are not just singers/actors in costume fulfilling cast requirements to provide John Adams, Massachusetts (Paul Dunne), Benjamin Franklin, Pennsylvania (Ken Street), and Thomas Jefferson, Virginia (Keegan Flaugh) to strut their stuff. Thornberry magically transforms each and every actor into a precise divergent memorable character from the astutely involved, the undecided, the boisterous, those who like the sound of their own voice, those who would rather be drinking rum, the doodler, the ceiling watcher, the unprepared, the pleaser, the complainer, the uninformed, and the proud. Each one stands out basking in their moment in the sun, making the most of even one line.

1776 runs through the time of May, June and July 1776 leading up to the signing of the Declaration of Independence.

This production of 1776 is a timely and incredible production from the set designed by Stuart Barr managing to give space to the bell tower of the Pennsylvania State House, the Chamber and an Anteroom of the Continental Congress, a Mall, High Street, and Thomas Jefferson’s room.

Appropriate, stunning costumes and wigs belong to the actors and characters designed by Lisa Murray. Some of the characters dressed to the hilt complement their ego styles. Some show wear from dusty travel, while others exhibit wilting from extreme heat and humidity.

Brian Miller’s effective lighting design punctuates precise moments of humored tension filled debates. Steve Stevens valuable sound design brings street noises of horses and voices into the fray of the 2nd Continental Congress to the point of distraction for some of the esteemed and not so esteemed officials.

The musical stands as a stark reminder how close we came to not having a United States of America as well as proving once again that when the time for an idea hits its peak, nothing can stop it, certainly not 24 squabbling ego-centered men. What strikingly stands out is these men knew how to argue, knew how to make their point, knew how to stand up for their beliefs right, wrong or indifferent, without falling into a crude, rude, and unattractive syndrome. With all of their foibles and class-consciousness, these were highly intelligent, educated men who appreciated the power of the English language.

Although Peter Stone who wrote the Book, took advantage of poetic license, it is astonishing how historically accurate the musical is.

Controversy swirled around it, when it first appeared and was even banned. Although the film was released in 1972, as late as 2004, it was banned in Fairfax County, Virginia from being shown in middle schools because of the sexually explicit language. The song, Cool. Cool Considerate Men sung by John Dickinson, Pennsylvania (David Ambroson) and the conservatives originally was cut from the film, suggesting it was highly inappropriate for generously proportioned, distinguished men to be dancing together. Fortunately, the song was restored in the 2003 DVD release.

With Ambroson’s strong golden voice, and the distinguished portly men dancing the minuet together stands in juxtaposition to the fretting, arguing, hot, tired men with gaiety, humor, and the underlying aspect that in spite of the complaining, and arguing these were indeed men of distinction who could say their piece with defensive words at the same time bowing in respect to one another. The controversy remains alive and well. All some can see are historical, distinguished, generously proportioned characters dancing, without seeking the reason why.

Dunne’s grasp of John Adams takes an exceptional powerful stance with his huge magnificent voice, his distinct over-verbalization sparking that wonderful opening song Sit Down John. Leading Adams to capitulate his take on the Congress for their triviality with Piddle, Twiddle and Resolve setting the tone and depiction of Congress’s attitude. Standing up to England, claiming independence burned within Adams. It takes Franklin’s sharp words in a heated debate to point out Adams is definitely not the one to introduce the proposal, since most dislike him, considering him obnoxious.

“The people want independence,” he argues with Franklin who retorts, “no one listens to you.” With glistening alive eyes, Street’s portrayal of Franklin provides the depth and intelligence surrounding him.

The musical shows off the many sides of Adams in his writing to his wife Abigail beautifully portrayed by Kelly Stoneberger. The eye-to-eye contact between Adams and Abigail on stage writing letters to each other, the voices and chemistry depicts a companioned marriage, and mutual respect entailing Abigail’s confidence to stand up to her husband with shared loved. Adams may be a pain to the Congress but he contains the courage to listen to his wife. Their scenes are warm, charming and powerful.

Flaugh’s portrait of Jefferson, young, determined, inexperienced, containing a flair for logical thinking, hesitating to be the one to draft the Declaration of Independence, “burning” to get home to his wife, provides reality, humor, honesty. Charged with frustration over not being able to go home, locked in a room to produce a credible document, clamors as a breathtaking moment. Having Franklin send for Martha delightfully portrayed by Michelle Merz, represents a moment of poetic license, Martha never traveled to Philadelphia during the summer of 1776. In reality, she was extremely ill from a miscarriage.

Frequently, dance, music, and song offers insight into an arena of comprehensive understanding facts alone cannot do. Martha, Jefferson, Adams, and Franklin’s song brims as a grand example with He Plays The Violin.

A great deal of the credit for this outstanding production includes the Music Direction by Amanda Farnsworth and Choreography and Stage Movement by Nola Rocco fitting dance, movement, actors and characters into a symphony of oneness in digress opposition.

Paul’s interpretation of Richard Henry Lee gives us a man of strength, wisdom, decorum, at the same time filled to an overflowing proud ego coming from one of the oldest families in Virginia. Eyes speak volumes. Of course he is the one to present the proposal. Paul gives him the dignified flair he demands.

Joey Wishnia brings Andrew McNair, a Congressional Custodian, very much alive with his constant irritation of having the hot and steamy congressman order him to open the window, it’s too hot, close the windows it’s too noisy. Wishnia allows another side to show for McNair with the song Momma. Look Sharp along with the Courier (Raymond Bailey), and A Leather Apron (Scott Glennon). It ends Act I, and it tolls across the centuries to the now with a quiet breathlessness. McNair is one of Wishnia’s finest performances.

1776 made its bow on Broadway in 1969 gleaning five Tony Award nominations winning three, a Theatre World Award, and two Drama Desk Awards.

Humor vies for attention along with the battling repartee of the Congress. Davis Bennett’s Joseph Hewes, North Carolina, constantly conceding to Joel Sutliffe’s Edward Rutledge of South Carolina. Richard H. Pegg’s Lewis Morris of New York continuously abstaining from voting because New York wouldn’t give him any informational opinions. Pegg waited 37 years to be involved in a production of 1776, and couldn’t have chosen a better production. Ironically, he is the only born Englishman in the show, having become an American citizen in 2005. (An interview with him will appear next week.)

Michael Emmitt’s Dr. Lyman Hall, newly appointed from Georgia, finds himself overwhelmed with congressmen scrambling to persuade him to vote their way. Emmitt’s depiction of inundated innocence surrounds him, which reflects from his big eyes.

Charles Davidson captures the gravely ill Caesar Rodney of Delaware in his having to return home and his having to return to break a deadlock.

Even when the spotlight isn’t on them, when it might be all too easy to lose sense of their character’s intent, not one does.

The portrait portrayed is one of being given a magic mirror looking across the centuries into the 2nd Continental Congress, providing an amazing sensation. Some screamed treason over the thought of demanding independence from England, believing it for all they were worth. At the end the issue of slavery came close to stopping the entire process in its tracks. But an idea whose time has come gives the wisdom of compromise to even the most stubborn.

Littleton’s Town Hall production absolutely must be on the “go” list with its incredible timing, and awesome production by everyone involved. It piques the imagination to look further into the subject, no longer wanting to take Independence for granted.