Review: 1776 at Kennedy Center

1776 is now being given a triumphantly moving and vigorous radically deconstructed interpretation at the Kennedy Center.  There are many fans already who are firm believers in the message of this uniquely conceived musical but this production will lead them even further into intellectual and sensory depth.  The metaphor of the United States of America being “hatched” out of the shell of the emerging eagle’s egg –the egg that is trying to open in order to herald freedom and independence versus the tyranny and oppression of the King of England.

The genius of this production is that co-directors Jeffrey L. Page and Diane Paulus have reconceived the original material (1776 premiered on Broadway in 1969) so that what is hatched from the egg of emerging independence is not only an eagle ---but a lens through which the current challenges of 2023 mirror the struggles of 1776.

Racism, authoritarianism, discrimination, and hatred of “the other” still run rampant in our struggling democracy and this vigorous ensemble of artists who identify as female, trans, non-binary and nonconforming all vividly bring to life the “living human history” which is the struggle of keeping democracy alive.

Each scene comes alive as they unspool like successive vignettes from a very human ebbing and flowing history –very influential characters from history such as Benjamin Franklin, Thomas Jefferson, and John Adams appear and relate as if they were your neighbor on the street. The very strong and intelligent book by Peter Stone makes history come alive without turning the characters into stereotypes or hagiographic heroes. Stone focuses on the essence of thematic historical truth and explains why some specific details may have had to be altered for dramatic unity in his “Historical Note by the Authors” in the Penguin edition of the play. Indeed, the spirit of the search for freedom from tyranny and the intent of writing the Declaration of Independence is very well conveyed throughout.

The 1776 orchestra was adroitly and perceptively conducted by Ryan Cantwell and made up of touring and local musicians.

Individual songs are embedded organically in the production thanks to the inventive music and lyrics by Sherman Edwards. Ballads, elegiac songs, and belting showstopping songs are all explored in this witty, biting, and moving score. The songs are presented with a knowing “wink” –not too satirically or over-the-top but with a wry and perceptive eye thanks to the meticulous direction of Page and Paulus.

Edwards’ music is ravishingly beautiful especially as it is sung by Brooke Simpson (as Abigail Adams) in the sonorous “Yours, Yours, Yours”.

Also tentatively hopeful, the steadfast yet tentatively mirthful strains of “The Egg” are sung with brio and panache by Liz Mikel (Benjamin Franklin), Gisela Adisa (John Adams), and Nancy Anderson (Thomas Jefferson).

A more hopeful and even exuberant tone was colorfully employed by Shawna Hamic (as Richard Henry Lee) in the zesty and upbeat “The Lees of Old Virginia”. A real showstopper of a number!

A more serious turn of musical songs occurred in the ultimate in an anti-war song “Momma, Look Sharp”. The horrors of war and mothers losing their children was evoked so sharply yet poignantly by the sorrowful singing and dialogue of  Candice Marie Woods (the courier ) and Tiffani Barbour (Andrew McNair ).

The hypocrisies and horrors of the inhumane slavery trade were brought to bear on the searing indictment of slavery with the slow-burning anguish of “Molasses to Rum”----this was sung with a very commanding, steely hauteur yet subtly expressive dry smile by Kassandra Haddock (Edward Rutledge of South Carolina).

The depths of despair seemed to be reached in the culminating scene/song when Gisela Adams’ (as John Adams) resonant and textured voice looked up and with arms held out, sang searingly ---“Is Anybody There?’’ to no reciprocation but only empty silence.   

Technical credits as mentioned are impeccable especially choreography by Jeffrey L. Page. Movement was expressive with “out of the box” choreographic vision –dancing on a table, legs moving under tables, and almost continual movement on the stage space. More movement is brought in as couriers run into the chambers to give intermittent missives from General George Washington about the status of the various militias and battles of the Revolutionary War.

Scenic Design by Scott Pask is perfectly suited to the more intimate space of the Eisenhower Theater and is supremely functional as well as very sophisticated in streamlined design as the scenes change.  Visual projections and montage are employed to portray the votes in favor or against adopting the resolution as well as the historical events that have transpired in America since it was born.

Lighting Design by Jen Schriever is evocative and conveys a multitude of moods.

Costume Design by Emilio Sosa is by turns somber and earthy and/or colorful and flashy as the mood, region, and theatrical flair would entail.

This superb production of 1776 bears repeated viewings. This production is wholly appropriate for a meaningful and truly inclusive 4th of July celebration on the many aspects of being an American --although it can sometimes be a slow and painful process to the true principles of the Declaration of Independence. (The Supreme court’s recent ruling against affirmative action adds extra relevance to this well-written musical).

Running Time: Two Hours and 45 minutes with one fifteen-minute intermission

1776 runs through July16, 2023 at the Kennedy Center located at 2700 F Street, NW, Washington, DC,20566. 

Photo credit: The company of the National Tour of 1776. Photo by Joan Marcus.

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