Barn Theatre's `1776' is full of life, liberty and the pursuit of happiness
You say you want a revolution?
How about one set to music, coifed and costumed?
Director Jayme McDaniel turned Augusta’s Barn Theatre into Philadelphia’s Independence Hall Tuesday night as he put his John Hancock on “1776,” a musical drama about the deliberations of the Second Continental Congress that led to the signing of the Declaration of Independence.
But this is no dry government lesson. These are Founding Fathers in living color—in some cases resplendent color—and showing all their warts.
The script takes dramatic license—the Declaration was actually adopted on July 2, and John Dickinson, although opposed to it, stood in the back of the hall and avoided the debates. Still, it conveys the tumult and discord that plagued the Congress during that steamy summer in Philadelphia.
I’ll admit, I went to “1776” hoping to see history-book figures in waistcoats, breeches and silk stockings kicking up their legs in a chorus line.
I wasn’t disappointed: how often do you get to see a lineup of Thomas Jefferson, John Adams, Roger Sherman, Robert Livingston, and Ben Franklin (despite the gout), high-stepping as each, in turn, begs off the task of composing the immortal document?
“But, Mr. Adams, I cannot write with any style or proper etiquette/I don’t know a participle from a predicate/I am just a simple cobbler from Connecticut,” sings Sherman (Nick Horton) as he refuses the proffered quill in the amusingly choreographed number, “But, Mr. Adams.”
Scott Burkell is adamantine as Adams, the man who forged the nation; those who have read David McCullough’s Pulitzer Prize-winning 2001 biography John Adams will know that Adams’ role as protagonist is deserved.
They will also recognize the language from the poignant letters sent between John and Abigail Adams, portions of which are excerpted and form the basis for two lovely duets by Burkell and Amber Rees, “Till Then” and “Yours, Yours, Yours.”
Indeed, the play’s language (it, too, won the Pulitzer) also draws on the desperate letters sent to the Congress by George Washington, commander of the Continental Army.
The songs, while not exactly hummable, are challenging and interesting, and the orchestra cleverly incorporates stylings characteristic of the eighteenth century.
The score achieves a steely intensity during “Molasses to Rum,” in which Eric Parker, as South Carolina’s Edward Rutledge, exposes the Northern merchants’ hypocrisy on the slavery question in a powerful solo accompanied by African drumbeats.
Broadway veteran John Newton returns to the Barn for a wonderful turn as Franklin. Newton has the choicest lines and delivers them with all the irreverence of Old Ben himself.
“Do you have the honor to be Dr. Franklin?” asks an awed new delegate.
“Yes, I do have that honor,” Franklin (Newton) says dryly. “Unfortunately, the gout accompanies the honor.”
He is a delight, although more padding ‘round the abdomen would have better conveyed Franklin’s paunch.
Other standouts include Andy Planck as the “strutting popinjay” Richard Henry Lee and Anthony Daniel as punctilious secretary Charles Thompson. Joe Aiello is debonair as Dickinson but needs to stretch himself more in the role to discover Dickinson’s dilemma.
“1776” is outstanding, right down to the striking tableaus that open and close the play. Seeing it should be an unalienable right.
Spend an evening with the founding fathers
AUGUSTA --We all know how "1776" ends -- the United States begins. But it was touch and go there for a while, as told in the musical which opened for an appreciative audience of about 375 Tuesday at The Barn Theatre.
Except for the ruffled shirts and ponytails, the second continental congress 230 years ago in Philadelphia wasn't much different from today's congressional hearings -- bickering over special interests, politicking to get votes and endless committees.
Even with frequent witty quips by Ben Franklin (John Newton) and several memorable songs, this is a long, talky drama with few set changes and little action. Yet it works, largely because of the cast's ability to create strong, personalities for our founding fathers.
John Adams, portrayed by Barn favorite Scott Burkell, leads the pack with his no nonsense, determined antagonist who beams like a schoolboy anytime he imagines his wife, Abigail (Amber Rees).
Newton is practically a stand-up comedian spouting Franklin sayings every chance he gets. But he's also a serious proponent of independence who has some convincing lines. Unfortunately, his ill-fitting wig with skull cap makes him look like a cheap clown.
Going head to head with Adams on many issues is John Dickinson, played by another Barn regular, Joe Aiello. There's a certain familiarity in the tension between these two, especially when they get into a swashbuckling battle of canes.
All 20 delegates create interesting personas, from the idealistic Thomas Jefferson (Jamey Grisham), fiery Edward Rutledge (Eric Parker) and fly-swatting John Hancock (Roy Brown) to the tippling Stephen Hopkins (Gregg Rehrig), nibbling Samuel Chase (Howard McBride) and sniveling James Wilson (Jerry McAllister).
Director Jayme McDaniel pulls out his choreographer's experience in staging a little minuet for "Cool, Cool Considerate Men" and adding an extra kick in a dance number involving Franklin, Adams and Martha Jefferson (Courtney Reed.) Reed gives "He Plays the Violin" seductive phrasing to emphasize double entendres in the lyrics.
One of the most entertaining songs is "The Lees of Old Virginia," delivered with playful arrogance by Andy Planck as Richard Henry Lee. Jeff Baker, playing a bored courier carrying messages from George Washington, sings the most touching number, "Momma Look Sharp."
A huge board at the back of the stage keeps track of who is for and against declaring independence from England, and a nearby calendar counts the days through June and into July. The tension builds like a slow fuse on a bottle rocket, until the expected but satisfying conclusion.
Despite a little cursing, the show would be educational for older children, and most adults will appreciate this year's fireworks a little more after spending an evening with the founding fathers.
'1776' musical brings
history to life
Published:
Thursday, June 29, 2006 -- The Truth, D7
Last updated: 6/28/2006 8:09:28
PM
By Marcia
Fulmer
Entertainment Editor
AUGUSTA, Mich. -- "Is anybody there? Does anybody care?"
These questions are torn from a frustrated John Adams as the Continental Congress prepares to reconvene in Philadelphia to vote on the subject of "independency."
It is one of the most moving scenes -- among a great many -- that make The Barn Theatre production of "1776" a definite must-see for every theater-goer/history buff around.
The 1969 Tony Award winner for best musical opened Tuesday evening at the Augusta, Mich., playhouse and, down to a man (and there are a great many), it is a riveting production that held the capacity audience throughout its nearly three-hour running time.
Trust me. The length is not a factor.
From Adams' open diatribe to the final tolling of the bell as representatives sign the history-changing document, it is not only an eye-opening look at what it took to get America "hatched" but an evening of solid performances supported by a memorable score and some outstanding dramatic and vocal work.
Leading the long struggle for independence during the blisteringly hot summer of 1776 in "foul, fetid, fuming, foggy, filthy Philadelphia" is Adams of Massachusetts, played sharply by Scott Burkell. Adams is the "obnoxious and disliked" gadfly who refuses to let the idea of freedom from England die and fights considerable opposition from the "Cool Considerate Men" headed by John Dickinson of Pennsylvania (Joe Aiello) and Edward Rutledge of South Carolina (Eric Parker).
Among his staunch allies are Benjamin Franklin of Pennsylvania (John Newton) and Thomas Jefferson of Virginia (Jamey Grisham). Maneuvering through every roadblock, they fight for the unanimous vote literally down to wire, compromising, wheeling and dealing with increasing ferocity.
Watching independence become a reality is an eye-opening experience and underscores the fact that the more things change -- in politics -- the more they stay the same!
Every historical figure is brought to life believably by The Barn cast, tics and all. A total of 24 men make up the cast, one of the reasons the show is done only rarely. From Congress President John Hancock (Roy Brown) to its secretary Charles Thompson (Anthony Christian Daniel, whose rather nasal delivery actually works well) and a courier (Jeff Baker) who ends the first act with the haunting "Mama Look Sharp," all secure their characters and stay with them.
Burkell is all flash and fire, undaunted at every turn and exploring -- and exploiting -- every angle tirelessly to make the idea of freedom a reality.
Aiello is the condescending man of property, moving always to the right, who replies to Hancock's challenge that "there are not enough men of property in America to dictate policy" with "Most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor. That is why they will follow us."
Newton is a delightful Franklin, razor-sharp under the guise of age, (although his ill-fitting semi-bald pate wig is too obviously wrinkled), he maneuvers expertly and provides a calming influence on Adams.
Special applause to Andy Planck as larger-than-life Richard Henry Lee of Virginia in an absolutely scene stealing turn.
Parker's powerful baritone makes the most of every measure of the real showstopper, "Molasses to Rum," Rutledge's rebuttal to Adams' insistence that the paragraph prohibiting slavery should remain in the declaration.
He loses that war but, of course, wins the battle. We knew all along there was never a doubt of the outcome, but watching the struggle is still as riveting as if the result was unknown.
The two women of "1776," are Abigail Adams (Amber Rees), who visits her husband only via letters, and newlywed Martha Jefferson (Courtney Reed), whose presence in Philadelphia is delightful and definitely more physical.
"1776" makes rediscovering this country's roots fascinating, enjoyable and very enlightening. It seems only fitting that it will play through the Fourth of July. It's never too late to look back and learn.
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