Review: 1776 at Abbey Theater Of Dublin
Musical revisits the flawed men who made the perfect Declaration.
Forty-six years separate the premieres of 1776 and HAMILTON. Yet one truth still remains: no one likes John Adams.
Audiences looking to see one of the inspirations behind HAMILTON should make plans to see the Abbey Theater of Dublin's impressive production of 1776. The show wraps up this weekend with 7 p.m. performances on June 5 and June 6 and a 2 p.m. matinee on June 7 at the Coffman Park Amphitheater (5200 Emerald Parkway in Dublin).
Written in 1969 by Sherman Edwards (music and lyrics) and Peter Stone (book), 1776 opens with the song "Sit Down, John," in which members of the Continental Congress express their frustration with the outspoken Adams. Decades later, HAMILTON echoes that sentiment when Alexander Hamilton verbally dismisses the second president with a profane “Sit down, you fat motherf***ker” in “The Adams Administration.”
In an interview with Playbill, Lin-Manuel Miranda acknowledged the influence of 1776 on his work: "I think you're absolutely right. 1776 certainly paved the way for HAMILTON —not just in that it's about our founders, but also in that it engages fully with their humanity. I think it makes them accessible to us in a very real way."
Yet this 27-member production, directed and produced by Joe Bishara, stands firmly with both those who love HAMILTON and those who haven’t seen it. As the nation nears its 250th anniversary of the Declaration of Independence, 1776 reminds its audience the men who created the document were both flawed and fearless.
Adams (a passionate turn by Jonathan Collura), Benjamin Franklin (Gregory Patterson) and Thomas Jefferson (William Ray-Macke) are at the epicenter of the musical. The trio captures the essence of the musical: Adams' awareness of his own flaws, Jefferson's reluctance to lead, and Franklin's gift for using humor to disguise his wisdom.
With a handful of delegates threatening to derail the process of separating from England, John Hancock (Tim Clayton) appoints Adams, Franklin, Roger Sherman (Ryan Bunce), and Robert Livingston (Niko Carter) to draft a declaration acceptable to all 13 colonies.
The problem is no one wants to write it.
In “But Mr. Adams,” each reveals why they shouldn’t author the document. When all options are exhausted, the four then turn toward Jefferson, who is trying to make a hasty retreat. Ray-Macke does an exceptional job capturing Jefferson’s bug-eyed, “you couldn’t possibly want me” look.
Just like it takes more than just stars to make the flag, it takes more than three actors to recapture the process of becoming a new nation. On the acting side, Jacob Erney shines confidently as the self-absorbed Richard Henry Lee and his spotlight song, “The Lees of Old Virginia” is one of the show’s many highlights. With a flawless British accent and his haughty mannerisms, Wilson is in top form as Dickinson, the show’s antagonist.
Vocally, Lev Hund turns the nameless courier role into one of the show’s most poignant moments as he sings about the horrors of the battlefield in “Momma Look Sharp.” As South Carolina representative Edward Rutledge, Eric Shonk exposes the hypocrisy in the Founding Fathers’ views on slavery in his riveting “Molasses to Rum” – “Tisn't morals, 'tis money that saves/Shall we dance to the sound/Of the profitable pound?” Watching Jefferson then cross out the Declaration’s paragraphs about slavery is one of the darkest parts in 1776.
Only two of the 27 roles in the two-act, two-and-a-half-hour presentation are reserved for women. However, as Abigail Adams, Krista Pojman provides a comedic counterbalance to her bombastic husband. Both Pojman and Deborah Brennan, who plays Martha Jefferson, present melodic, operatic voices in limited roles.
The show has the largest cast and is the most ambitious production attempted by Bishara. Tamara Criswell’s costumes and set design make it look like the actors stepped out of a John Trumbull painting. Bishara's production finds the drama, humor, and humanity behind the history lesson.
However, the show isn’t flawless. In general, critics complain 1776 runs long, its storyline gets sidetracked, and its songs lack the firepower of HAMILTON. The opening night exposed a few rough edges, particularly in the consistency of accents and line delivery.
The show is much like the process of writing the Declaration of Independence. It is not a flag-waving piece of propaganda; it exposes the humanity behind the document. It may not be completely flawless in its design but it makes a perfect statement that has lasted for many years.
Photo credit: Joe Bishara/Abbey Theater
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