Theater Review: Leadup To Declaration Sets Stage For Academy’s ‘1776’

Two-hundred-and-fifty years ago, a group of men convened within a hall in Philadelphia. They had their differences, their interests and their reasons for doing the things they did. Yet, with their ability to strike an accord, with a moment of optimism and unity, a country was formed. A new production of “1776, The Musical” looks at the formation of a foundation we are in the midst of celebrating.

 “1776, The Musical” is the latest production staged by the Academy of Performing Arts in Orleans. Opening to a full house on July 2, the show was directed by Joan McKenzie Baird and features an enormous credited cast of 25 actors. The story imagines the period prior to the signing of The Declaration of Independence and the stakes John Adams, Ben Franklin and others had to navigate to craft freedom from British tyranny. The intricacies of the story are timelier than ever.

Frankly, “1776, The Musical” slaps you in the face and grabs your attention. I didn’t know the musical prior to attending, outside of some cursory research, and quickly found myself giddy with the opening musical number, “For God’s Sakes, John, Sit Down.” The story begins with the convening of the Second Continental Congress in Philadelphia as representative after representative makes their way into Independence Hall prior to a session taking place. Eventually Adams, played by Randy Doyle, enters, bemoaning the inefficiencies of the group he finds himself amongst. He complains and complains and the lights dim as the audience begins to sympathize with his plight, and finally everyone — all the members of the congress and even the people working within the hall — in unison cry out as the lights lift “Sit down John. Sit down John. For God sakes, John, sit down.” It’s a perfect moment in which the production of the show blends perfectly with the performances. It also establishes a tenet of the performance from the opening number — this will be more entertaining than history class.

From that point, a lot of stakes are laid out. Adams isn’t very well liked. The current congress isn’t really getting a lot accomplished, and everyone is questioning why they are there. After another frustrating day, Adams finds himself apoplectic. He doesn’t know how he can continue to exist within a congress that will not stand for anything. He makes his way to Franklin, played by Scott Hamilton, for guidance. Franklin is convincing Richard Henry Lee, played by Terrence Brady, to broach the topic of independence for debate within congress. Once Franklin and Adams get Lee to agree, it brings the action of the narrative to a confrontation. Can Adams and Franklin convince the royalist component of the congress to shed their ties and rebel against the crown in an effort for autonomy and independence?

While the show is very much a large ensemble, it is also a bit of a two-hander between Franklin and Adams. They have to work together to get a vote on debate, the formation of the writing committee and execution therewithin that would turn into the Declaration of Independence and navigate the concessions that come with getting a group of people to agree on a written document. While everyone likely has a connotation on how those events go down, the narrative of “1776” is plastered with a bawdiness and a willingness towards confrontation, and it is hard not to be entertained within the structure of the story.

Doyle is at his best as Adams. He brings an anger and a frustration to a character that’s born out of optimism and hope that the play depends upon the audience connecting with. He drives the story with his persistent pushing towards an outcome he believes to be true and just. It’s a character society used to innately associate with an American ideal, and it’s refreshing to witness in this setting. His genuine belief, along with his friendship with Franklin, embolden the performance. 

Hamilton, too, is very strong as Franklin. The smarter-than-thou nature of the character could have been off-putting or pedantic in many hands, but Hamilton brings a sense of humor and frustration with the idiocy of the proceedings that is nothing but relatable.

Beyond Adams and Franklin, many members of the cast get a moment that is worthy of note. In a tense moment towards the end of the musical, Beau Jackett delivers a show-stopping number as the representative from South Carolina, Edward Rutledge. The Courier, played by Suzanne Fecteau, delivers a poignant number, “Momma Look Sharp” at the end of act one that is one of many moments that stands in contrast to the lead narrative. There were also many moments that drew a chuckle, like Andrew Haber as Stephen Hopkins trying to get more rum, Billy Weimer as multiple New York representatives courteously abstaining and honestly any time Col. Thomas McKeen, played by Fred Carpenter, spoke.

The show is obviously appropriately timed. As America celebrates its 250th anniversary, it’s fitting to look back at a period we can misremember as being universally one thing because of the outcome that came with it. Yet, in reality, it featured a group of people that had no clue what was going to happen and needed to compromise in order to move forward. Beyond the humor and joy, the brilliance of the technical or performance components, “1776, The Musical” stands as a reminder: The only way forward is together, and a little good can lead to a broader goal.