Review: 1776 at Gettysburg Community Theatre

The award-winning musical 1776, by Peter Stone and Sherman Edwards, first premiered on Broadway in 1969. Since then, it has been adapted for the screen, had numerous Broadway revivals, and is a favorite of community theatres around the country. The story of John Adams, Benjamin Franklin, and the rest of the Second Continental Congress, 1776 takes the audience through events in Philadelphia leading up to the signing of the Declaration of Independence. With 2026 being the 250th anniversary of that signing, many theatres are producing 1776. Gettysburg Community Theatre opened their production of 1776 under the direction of Richard Shoap with assistant director Lindsey Ringquist, music director Carrie Conklin, and choreographer Holly Fox through August 2nd.

In addition to the directors and choreographer, the production team includes Amy Eyler (stage manager and costumer), John Kefauver (sound technician), Lexi Connelly (sound technician), Nicholas Ryan (lighting designer), Kai Dittrich (light board operator), Vanessa Rice (props), Cyd Tokar (set), Jeff Leinbach (set), and Jon Loy (set). The set, props, and costumes set the scene beautifully, while the projections and lights help to denote the passage of time.

The large cast is comprised of Matthew Shoap (Leather Apron), Adriel Fenby (Courier), Lucy Pratt (Martha Jefferson), Ally Olney-Boyd (Abigail Adams), Barbara West (Charles Thompson, Secretary), Cyd Tokar (Andrew McNair), Jeff Leinbach (James Wilson), John Loy (Rev. Jonathan Witherspoon), Jim O’Dell (Dr. Lyman Hall), Jonah Gelsi (Joseph Hewes), Joshua Naderi (Samuel Chase), Jim Derby (Caesar Rodney), Billy Ferrell (Colonel Thomas McKean), Holly Fox (George Read), Don Zigler (Dr. Josiah Bartlett), Myka Walker (Lewis Morris), Helen Loy (Robert Livingston), Chris Watson (Roger Sherman), Jeff Cook (Stephen Hopkins), Charles Miller (Edward Rutledge), D. Scott Hartwig (Richard Henry Lee), Paul Norfolk (John Dickinson), Marc Goldman (John Hancock), Alex Wilson (Thomas Jefferson), Mike Yasenchak (Dr. Benjamin Franklin), and Sam Eisenhuth (John Adams). The entire cast does a wonderful job of staying in character even when they are not the focus of the scene. This reviewer very much enjoyed their background acting—swatting flies, fanning themselves, nodding off—they definitely made sure the audience knew how hot and uncomfortable the Congress was during these meetings. This production is also filled with phenomenal voices that create inspiring harmonies.

With such a large and talented cast, there are many highlights in this production. For the sake of space, this review will just point out a few. Adriel Fenby gives a stirring performance as the Courier. Each time this actor enters the scene, the audience can feel the character’s exhaustion—bone-deep weariness from travel as well as from the despair and loss of life in the battle. Fenby’s vocals on “Momma Look Sharp” are haunting and filled with a raw emotion that brings the audience to tears. Lucy Pratt is adorable as Martha Jefferson, and her crystal clear vocals and graceful dancing bring “He Plays the Violin” to life beautifully. Ally Olney-Boyd is the perfect match for Sam Eisenhuth’s John Adams. Their voices are lovely together, and Olney-Boyd’s facial expressions are priceless. Barbara West gives her character the perfect sense of gravitas as the Secretary of the Congress. O’Dell gives a wonderfully nuanced performance as Dr. Lyman Hall, representative from Georgia. His line delivery is spot-on, giving the audience a glimpse into his character’s philosophical leanings and internal conflict. Jim Derby’s performance as Caesar Rodney, a representative from Delaware who is suffering from cancer, is heart-wrenching.

Charles Miller takes on one of the most difficult roles as Edward Rutledge, the representative from South Carolina who refuses to sign the Declaration until they remove the section to abolish slavery. He plays the role with swagger, confidence, and self-righteousness, ensuring that his character is the one the audience will love to hate. D. Scott Hartwig and Paul Norfolk both portray men with larger-than-life personalities—Richard Henry Lee and John Dickinson, respectively. Not only do these actors have lovely voices, but they also bring a wonderful energy to the stage. Marc Goldman keeps the scenes moving forward as John Hancock, President of the Congress. His demeanor expresses his character’s steady dedication to the process and his frustrations with Congress’s inability to come to a consensus.

Alex Wilson, Mike Yasenchak, and Sam Eisenhuth are a stellar trio as Thomas Jefferson, Benjamin Franklin, and John Adams. Their voices are lovely together, with precise harmonies that fill the theatre. Wilson is delightful as the young, intellectual, passionate Thomas Jefferson. Yasenchak portrays Benjamin Franklin with a fantastic mix of comedy, logic, bluntness, and slyness. He is the perfect contrast to Eisenhuth’s outspoken, brash, serious, frustrated John Adams. Eisenhuth is well-cast as John Adams. His voice is stellar and his facial expressions illuminate his character’s thoughts and feelings flawlessly.

Gettysburg Community Theatre’s production of 1776 is powerful, entertaining, and thought-provoking. Their whole run has sold out, but this reviewer is looking forward to seeing their next production. Visit gettysburgcommunitytheatre.org for information on upcoming shows.

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