By Matthew VanNostrand.
Two hundred and forty-seven and a half years ago, and just six blocks down the street from where the
national tour of the Broadway revival of the musical 1776 makes its return at the Forrest Theatre in
Philadelphia, momentous events occurred which would change “the course of human events”. These
are words taken from the early paragraphs of the Declaration of Independence. Words which become
the focal point of this show, which is part musical, part snapshot into the events that transpired during
the Second Continental Congress in Philadelphia in the hot summer months of June and July, 1776. 1776
features music and lyrics by Sherman Edwards, and Tony Award-winning director Diane Paulus directs
the production.
The main appeal of 1776 is its unexpected comedy. John Adams of Massachusetts, played by Gisela Adisa, is the butt of jokes early and often from the rest of the delegates to the convention, seeming to alienate and upset everyone else present within the walls of Independence Hall. Adams, however, becomes the catalyst of the show and seemingly the Second Continental Congress, after proposing and being rejected many times when proffering the independence of the American Colonies from Great Britain. Another moment of surprise comes before the musical numbers even start as the cast entering in modern clothes transforms into the historical figures they will be embodying by donning their accurately portrayed 18 th century style jackets, stockings and boots on stage. (Costume design by Emilo Sosa.)
What will become plain from first notes of “Sit down, John” is that it is not the portrayal of these famous
historical figures that have become so well worn. The cast being made up entirely of a multiracial group
of female, transgender, and nonbinary actors helps to provide voices to those whom have been left out
of, or at the very least not put in the spotlight of past historical interpretations of the founding moments of this country. For example, the show, which first made its Broadway debut in 1969, took opportunities
in this modern update to include the perspective of Abgail Adams, played by Tieisha Thomas, who deftly
and passionately delivers lines taken directly from letters written to her husband John. This includes the
famous “remember the ladies” phrase, which Abigail uses to confront John about the absence of women
in the political discussion of rights, and who should have them. Another strong casting choice by
Stewart/Whitley is Liz Mikel who plays Benjamin Franklin in a way that brings and life and levity to the
show. While the music in the show was solid, there were less standouts in terms of big vocal numbers.
For someone not well versed in the heated meetings occurring with the walls of the Pennsylvania State
House in 1776 (brought to life by set design from Scott Pask), it might seem that the show delves
unnecessarily into every detail. Interspersed between the songs, most of which are lively, upbeat, and
comedic, are stretches of dialogue between delegates to the congress which can border on excessive.
The run time (two hours forty-five minutes) may also add to the feeling that one or two of these
extended views into the inner workings could have been abbreviated. The glimpse into the convention
does have its purpose, however, as it illustrates that independence was not a sure thing, even after the
decision was made (which is part of this on-stage discussion) to bring the Declaration of Independence
to a vote. The interludes that occur during the show also help to tie the musical numbers together and
continue to build the tension as it seems likely that the vote on the Declaration, which now must be
voted for unanimously, will fail.
The tension comes to a point as the delegates begin to pick apart the language of the declaration,
demanding that words and at times whole paragraphs be stricken from the document. This includes a
pivotal piece written by Thomas Jefferson, played by Nancy Anderson, which lays the blame for the
continued existence of slavery and the stifling of any legislation to end the institution at the feet of King
George III. The Delegate from South Carolina, Edward Rutledge, played by Kassandra Haddock, challenges this idea in a powerful way through the song, “Molasses to Rum”. The argument is made through song that all members of the congress have a part to play in the continued existence of slavery.
The Southern Colonies, according the Rutledge, will not be hamstrung into adopting a document that
makes one of the economic foundations of the country the focus and not the abuses (taxes and
otherwise) that the British government has lorded over its formerly loyal subjects.
The show comes to close in the form of a question: “Is Anybody There”? This seems to echo an earlier
conversation in the second act between John Adams and Benjamin Franklin, which is a lightly veiled
reference (updated in the revival) to how we look at the past today. The point being that viewing the
first leaders of congress as either “demigods” or “mere men” can have a big impact on what we think
about the question of our place in this story and the story of what it means to be an American today.
This open-ended question and the challenge that it poses leaves the audience with some food for
thought and for further conversation through the historic streets of Philadelphia.
Run Time: 2 hours and 45 minutes with one 15-minute intermission
1776 will by playing at The Kimmel Center, Forrest Theatre, until February 26th, 2023. The theater is
located at 1114 Walnut Street, Philadelphia, PA. For tickets contact the box office at (215) 893-1999 or
click here.