Feature: Three Actors, Three Productions of the Same Show, Same Historic Theatre

With the 250th birthday of our nation approaching this July 4th, Ford’s Theatre’s current attraction, the musical that tells the how the Declaration of Independence came to be, 1776 is indeed the best choice for this historic theatre to be presenting for the occasion. With a score by Sherman Edwards and a book by Peter Stone, 1776 ranks in my opinion as a perfect musical and there are only a handful of those.

Ford’s Theatre presented 1776 before in 2003 and 2012. Along with this current version, there are not very many similarities between the three stagings although as you’ll read, this current one has some unique touches. 

The only thing that links all three stagings together is the casting of three of the performers. Buzz Mauro, Stephen F. Schmidt, and Thomas Adrian Simpson are all longtime powerhouse DC theatre veterans that all boast an impressive list of credits.

Over the years Buzz Mauro has performed at Signature Theatre in Assassins (Helen Hayes nom), Company, Saturday Night (concert staging) Sweeney Todd, Into the Woods, Forum, Passion, A Little Night Music, and No Way to Treat a Lady, at Woolly Mammoth in Birth and Afterbirth, and The Cockburn Rituals, and A Man of No Importance at Keegan Theatre. He is also the composer of two musicals The Kids’ Table, and Alix in Wonderland: A Gender Journey Down the Rabbit Hole. Perhaps his most impressive credit is one that happens daily offstage. Buzz is the Co-Founder and Co- Executive Director of the best arts education institution in the area (I’ll keep saying it) The Theatre Lab School of The Dramatic Arts.

Stephen F, Schmidt’s booming voice and presence has been gracing the stage of Ford’s Theatre off and on since 1992. Select credits at Ford’s Theatre includes many incarnations of A Christmas Carol, Parade, Liberty Smith, Ragtime, Hello, Dolly! and DC’s theatrical rite of spring One Destiny. I personally looked forward to his entrance line “MISTER HAWK!” with that deep rich voice filling the auditorium in “The room where it happened”. Other area credits include The Rocky Horror Show at Woolly Mammoth, Urinetown and The Best Little Whorehouse in Texas at Signature Theatre, and Great Society, All the Way, Death of a Salesman, Noises Off. He also originated the title role of Willy Wonka at Kennedy Center and can be heard on the hard-to-find cast recording.

Thomas Adrian Simpson has worked in many of our area theatres and beyond. Past Ford’s Theatre credits include Liberty Smith, A Christmas Carol, and The Matchmaker. Other area credits include Anything Goes!, A Raisin in the Sun, My Fair Lady, Mary T. and Lizzy K., Oliver, and The Light in the Piazza at Arena Stage, Jesus Christ Superstar, Crazy for You and The Best Little Whorehouse in Texas at Signature Theatre, and Sweeney Todd at Olney Theatre Center. Regional credits include productions at Goodman Theatre in Chicago and Virginia Repertory Theatre in Richmond, VA. You might have also seen Thomas on House of Cards or America’s Most Wanted (not as a suspect.)

There is something to be said for performers that keep coming back to perform in the same show. Three productions over twenty-three years have kept Buzz Mauro, Stephen F. Schmidt, and Thomas Adrian Simpson returning to Ford’s Theatre, in different roles of course, for a theatrical experience like no other. How many times do you get to perform in a musical that chronicles one of the most important chapters in American History? For these three off the chart performers, the answer is more than once and as you will read, they wouldn’t have it any other way.

Answer the call of “Is Anybody There?” and grab your tickets to Ford’s Theatre’s production of 1776 which run through May 16th.

Can you please tell us who you have played in the two previous productions of 1776 at Ford’s Theatre as well as who your character is in this current version?

Buzz- 2003: Secretary Thompson, 2012: Caesar Rodney, 2026: George Read

Stephen- 2003: Robert Livingston, 2012: Richard Henry Lee, 2026: Stephen Hopkins

Thomas- 2003: Dr. Lyman Hall, 2012: Revered John Witherspoon, 2026: John Hancock

What would you say is the biggest difference between this version of 1776 and the two previous Ford’s Theatre productions?

Stephen- I think one of the biggest differences in this production of 1776 at Ford’s Theatre is the perspective it brings. We have an all-local cast with a range of experiences, so that shapes how these familiar historical figures come to life. It also does a great job of marrying the past and the present—showing audiences that the debates happening in 1776 still echo today.

Buzz- There’s a new orchestration, specially written for this production, that incorporates a lot of percussion from African and other traditions. It’s played by Manny Arciniega (my favorite drummer!) and adds wonderful flavor and character to the music in a way that keeps it continually connected to the slavery issue that is at the heart of the show’s conflict.

Also, this one had a two-hour movement audition! And movement has been central to Luis Salgado’s vision as director and choreographer. I loved the first two 1776es at Ford’s, and they had differences from each other, but both were essentially traditional stagings, with a fairly stationary Congress set. This one moves, as do the Representatives!

Stephen- You performed in another historical play at Ford’s Theatre for many years called One Destiny. The show deals with another important event in history being the assassination of President Abraham Lincoln. Playing historical pieces at Ford’s Theatre, I imagine, has a slightly different feeling to it because the box where the assassination happened is just off stage left in full view. Does it ever get intimidating seeing the box in your peripheral vision while performing?

Actually, I find the presence of “the box” far from intimidating. I think its presence augments the experience for both performers and audiences, most especially in shows like One Destiny and 1776.

Buzz- The last production of 1776 at Ford’s Theatre was fourteen years ago. It was the last time you were seen onstage. Why did you think it was time to return and why in another production of 1776 over another show?

As Co-Executive Director of The Theatre Lab School of the Dramatic Arts, my work there usually makes it hard to take on acting projects. But this production at Ford’s Theatre happened to line up perfectly with my commitments. The January–May window is a little more flexible for me than the busy summer and fall months at Theatre Lab, and Ford’s is only about a 10-minute walk away. That proximity—and the support of Theatre Lab’s Board and staff—made it possible for me to devote the time and focus the role requires while still staying connected to my work there. Adding 40 hours of rehearsal each week has definitely been a challenge, but it’s also been a real joy to be back on stage.

Thomas- Some actors don’t like doing multiple productions of the same show. With this being your third time performing in 1776 at Ford’s Theatre, what is it about the material that keeps you wanting to do it again and again?

While this is my 3rd time doing 1776 at Ford's, it is actually my 5th time doing the show and I love it! Beautifully written with marvelous dialogue, packed with history and full of character, 1776 reminds us that our founding fathers and those events from our history books were real. The people had wants, needs, good qualities and terrible flaws. Their life events included great loves and unimaginable hardships. Ben Franklin says it well; they were not demigods. They were “men—no more, no less—trying to get a new nation started against great odds.” A nation, not perfect but, based on the idea that all men are created equal and are entitled to life, liberty and the pursuit of happiness.

1776 is one of those very rare musicals where if you separated (not that you would want to) the score from the book, the book would stand on it’s own. Do you think any other musicals hold this distinction or do you think that 1776 is just that much more unique because of this feature?

Thomas- I can't think of another musical that has as strong a book as 1776. I believe it stands alone.

Buzz- There’s long been a conversation about whether the book of 1776 could stand on its own, and that really speaks to how exceptional it is. The dialogue is just as sharp and compelling as the music. The book kind of miraculously presents twenty-some characters in a way that feels completely organic, making each of them distinct, and of course it includes one of the longest non-musical scenes in any musical, yet it maintains interest the whole time. At the same time, the songs are absolutely essential— “Is Anybody There?” in particular gives us Adams’ crisis of faith and reinvigoration in a way that deepens the story. So, I don’t think the book truly stands on its own, but it’s so strong that people have been debating that question for years.

Stephen- I can’t think of any other musical in which the book could stand alone without a score. 1776 is most certainly unique in that respect.

Obviously a lot has changed in this country since 1776 premiered back in the 60s. Why do you feel this musical is even more important and relevant now?

Stephen- As we approach the 250th anniversary of the Declaration, I think it’s important not only to recall how these United States came into being, but also to remember the debates—and ultimately the compromises—that were required to bring this democracy into the world.

Buzz- I think one of the main things this show does is to show that there was nothing inevitable about the “experiment” of the United States of America. It came together through the commitment and hard work and virtues and faults and disagreements of real people and could have gone in any number of directions.

In the event you are cast in a fourth production of 1776 at Ford’s Theatre, who would you most like to play?

Buzz- John Adams was always a dream role for me, so it was difficult to watch myself age out of the chance to play him. If we assume it will be another 10 years before Ford’s Theatre does 1776 again, my only option will probably be Stephen Hopkins of Rhode Island—the second oldest man in the Congress—and that would be fun. The oldest, Ben Franklin, is not a role I can imagine myself playing, much as I’d love to believe I can do anything!

Stephen- Leather Apron

Thomas- Should I ever have such an opportunity, I would enjoy the challenge of Mr. Hopkins of Rhode Island, which is being played by my good friend Stephen Schmidt this go around.