Review: 1776 at Sheyenne High School

Sheyenne Theatre’s production of 1776 is both timely and thoughtfully chosen. Director Anthony selected the show in anticipation of the 250th Anniversary of the Declaration of Independence in 2026. After seeing the 2022 Broadway revival in New York, he shared, “I was incredibly moved by this profound interpretation of the material. They displayed our nation’s birth with a style that was equally deferential yet avoided omnipotence.”

Alongside co-director Bailey Krusen and Assistant Director/Choreographer David Triptow, Anthony assembled a production team and cast that rose beautifully to the challenge of telling this story.

With music and lyrics by Sherman Edwards and a book by Peter Stone, 1776 dramatizes the tense, messy, and often surprisingly funny debates of the Second Continental Congress as America inches toward independence.

On paper, 1776 sounds risky: no battle scenes, no sweeping romance, no spectacle, just men in a hot room arguing about independence. Yet the show thrives on sharp wit and deeply human portrayals of the Founding Fathers. Sheyenne’s production captured that humanity with clarity and heart.

Design & Music

To help transport audiences to 1776, Costume Designer Brenna Lahren did an outstanding job grounding the show firmly in the late 18th century. The wardrobe reflected colonial fashion with authenticity and intention. A muted palette of earth tones, navy, burgundy, olive, and tobacco browns reinforced the seriousness of the political setting. These weren’t fairy-tale Founding Fathers, they were working politicians in a sweltering Philadelphia summer.

Pit Orchestra Director Brady Ritland led an impressive 25-plus member orchestra. The musicians brought warmth, texture, and emotional depth to the score, elevating each number and underscoring the weight of the story being told.

Performances

This extremely talented cast was a joy to watch. There is remarkable talent at Sheyenne, and it’s clear that will continue for years to come, especially with several standout freshman performances.

Addison McCroskey delivered one of the evening’s strongest performances as John Adams. Her commanding stage presence and impressive vocal power anchored the show. Standout moments included “Sit Down, John,” “Piddle, Twiddle,” and “But, Mr. Adams.” As only a junior, her future on stage is incredibly exciting. 

Kendall Anderson was brilliant as Benjamin Franklin. Her comedic timing was sharp, and her chemistry with Addison made their scenes especially engaging. Vocal highlights included “The Lees of Old Virginia,” “But, Mr. Adams,” and “The Egg.”

Donavun McCorkle brought wonderful character work and comedic flair to Richard Henry Lee, earning enthusiastic audience response during “The Lees of Old Virginia.”

Allison Schiessl as Abigail Adams delivered heartfelt performances in “Piddle, Twiddle,” “Yours, Yours, Yours,” and “Compliments,” adding warmth and emotional contrast to the congressional debates.

Jackson Lunder was excellent as Thomas Jefferson, particularly in his scenes with Adams and Franklin and during “The Egg.” Sophie Vaagen shined as Martha Jefferson, especially in the charming and beautifully delivered “He Plays the Violin.”

One of the evening’s most impressive freshman performances came from Samara Casares Juelke as John Dickinson. Her presence during the congressional debates was commanding, and her vocals on “Cool, Cool, Considerate Men” were outstanding.

Another standout freshman was Dawson Henrickson as Edward Rutledge. His powerful performance of “Molasses to Rum”, arguably the show’s most intense and sobering moment, confronted the hypocrisy and brutality of slavery with chilling clarity.

Thomas Zellmer, also a freshman, was memorable as McNair. Though he did not have a solo, his comedic performance and expressive acting left a strong impression and big laughs from the audience.

Bernita Paih delivered one of the night’s most emotionally resonant moments as the Courier with “Momma, Look Sharp,” earning some of the loudest applause of the evening.

Additional strong performances came from Madison Anderson as John Hancock, Caden Hermann as Charles Thomson, Aubri Morlock as Lewis Morris, and so many others. The depth of talent on that stage was undeniable.

Final Thoughts

1776 is thoughtful, literate musical theatre, more chamber drama than blockbuster. It rewards audiences who appreciate history, character work, and sharp writing. In Sheyenne’s capable hands, it felt less like watching the past and more like witnessing democracy in its raw, argumentative infancy.

It may not be flashy, but it is powerful, intelligent, and deeply engaging, proof that even the signing of a document can make for compelling theatre.

Congratulations to the entire cast and crew on a remarkable production.