1776, Ford's Theatre, Washington, DC

 

Jonathan Atkinson as John Adams and the cast of the 2026 Ford's Theatre production of 1776, directed by Luis Salgado. Photo credit: Scott Sachman.

I first encountered the Tony Award-winning musical 1776 more than 50 years ago as a high school student, thanks to a bus-and-truck tour sponsored by the Broadway Theatre League in Huntsville, Alabama. It was after school in a high school auditorium, but it was a big deal and made quite an impression on me, in the realms of both history and theatre. It became one of my favorites – I can remember most of the lyrics and at the beginning of every July, I find the time to sit down and watch the film version on DVD.

Sherman Edwards, a high school teacher of American history, came up with the idea of a musical based on the adoption of the Declaration of Independence, which was roundly rejected by many for a number of reasons. For one, he was a history teacher, who had been a moderately successful songwriter in the 1950s and early 1960s but had no theatre experience. Edwards spent years meticulously researching the history of the adoption of the Declaration’s adoption by the Continental Congress and many of the “Founding Fathers” of the United States. Second, it was the 1960s and the nation’s streets were filled with people protesting the government’s military action in Vietnam. Patriotism was not at its peak.

Edwards finally found some interest in producer Stuart Ostrow, who suggested Peter Stone as a possible collaborator, to write the musical’s libretto. Stone had one previously-produced musical, Kean, which was largely considered a failure, but had found more success as a screenwriter, winning an Academy Award for his original screenplay, “Father Goose,” released in 1964. 1776 was Edwards’s only produced musical; Stone went on to write additional musicals (and doctored or adapted some), winning Tony Awards for Titanic and Woman of the Year, but none achieved the same level of success as 1776, which had an almost three-year run of 1217 performances.

Stone and Edwards accomplish quite a feat: from the very beginning, we know what the end will be. There is no doubt that the Declaration passed, but the action and conflicts portrayed manage (along with a countdown calendar) to create suspense as to just how it happens.

We don’t see the full Continental Congress, of course, but at least one representative of each of the 13 colonies, with future presidents John Adams and Thomas Jefferson, as well the highly-venerated Benjamin Franklin at the forefront. We see the faults and foibles of some of our “heroes,” as Stone and Edwards incorporate many of their known characteristics. In a great sense, this is “historical fiction” in the same way that I wrote a few days ago about Hamnet, though with many more verifiable details about its characters.

In a sweltering Philadelphia summer, John Adams is trying, desperately, to bring the issue of American independence from England to the forefront of the Continental Congress and to achieve its approval. Adams, it is often repeated, is “obnoxious and disliked,” so much so that Franklin insists that if someone else proposed independence, the idea could move forward. His idea is to get a Virginian, Richard Henry “Lighthorse Harry” Lee, to introduce the measure. The divided Congress ultimately agrees to consider independence, though it is far from assured of being adopted.

As a delaying tactic, Franklin and Adams insist that there needs to be a document written that explains the need for independence. Congress President John Hancock appoints a committee, intending for a Virginian to be among the members. Lee refuses, as he has just been elected Governor and must depart at once. Adams suggests Jefferson, described as the quietest man in Congress, citing the brilliance of some of his previous writing. Jefferson is overdue to go home to be with his wife, but the appointment stands. Jefferson is young (33) and very much aching for a chance to be with his wife, so Franklin arranges for Martha Jefferson to come to Philadelphia. (This did not happen in real life.)

Jake Loewenthal as Thomas Jefferson, Derrick D. Truby Jr. as Benjamin Franklin, and Jonathan Atkinson as John Adams in 1776 at Ford's Theatre. Photo credit: Scott Suchman. 

After Martha’s visit, Jefferson writes (and rewrites and rewrites) the beginnings of the Declaration, ultimately completing a document much longer than the final version. Recognizing the importance of voting on a document calling for the termination of the relationship between the colonies and the “mother country,” something never before achieved, Pennsylvanian John Dickinson insists that any vote on the Declaration needs to be unanimous. There is such division in the Congress that this seems impossible.

 One by one, the Congress quibbles with the contents – because it says nothing about deep-sea fishing rights, demeans the Scottish people, calls King George a tyrant, or other such individual concerns. One by one, Jefferson agrees to additions or deletions, but South Carolinian John Rutledge makes the ultimate confrontation. Jefferson’s document refers to slaves as Americans. Adams replies that they are people and they are here, which are the only requirements. Rutledge insists that they are not people, but property, and reminds Jefferson that he is, himself, a slave owner.

Though true, it seems like it could have been invented for dramatic purposes: Adams warns Franklin that if they do not agree to the South’s demands, there will be trouble “a hundred years hence” – in other words, history will never forgive us.

Ultimately, as you know, compromises are reached and the colonies’ representatives sign the document, as depicted in a famous painting by John Trumbull that hangs in the U.S. Capitol. This tableau was recreated as the final image of the original production.

The Ford’s production ends with some of the actors resuming their contemporary clothes as we return from the world of the play to our current status as observers. The curtain call, then, involves the principal actors as their characters as well as the “civilians” we saw exploring the “interactive exhibit” we saw as the show began. And we are reminded that the fight against tyranny is nothing new – it continues to this day.

I have left out some things, including that I neglected to mention Abigail Adams, the second First Lady of the United States, whom Adams called “my dearest friend.” Abigail appears onstage several times, always in the context of John’s mind or their letters (many lyrics were the exact words used in the letters).

The musical numbers define much of the action of the play and help illuminate the characters. The show opens with “Sit Down, John,” which sets up what you need to know about the background for the play. There are comedic numbers, such as “The Lees of Old Virginia” and “The Egg,” the sly but romantic “He Plays the Violin,” the dramatically heartbreaking “Momma, Look Sharp,” the confrontational “Molasses to Rum,” and “Is Anybody There?,” in which Adams predicts how the Declaration will be celebrated in years to come. There was not a separate Tony Award for Score the year the musical premiered, its choice as Best Musical certainly implies that Edwards’s score should be considered to have been award-worthy. None of the songs in 1776 ended up in the Top 40,^, though the Broadway season included Hair and Promises, Promises, both of which featured numbers that did make the Top 40.

Ford’s Theatre’s production of 1776 makes a number of departures from the usual staging. Entering the historic theatre, the stage is dressed as “a special interactive exhibit” for the 250^th anniversary of American independence, featuring various items, furniture, and costumed mannequins. At the back of the stage are columns and screens, with Trumbull’s famous painting seen amid the columns.  A few people who appear to be tourists gradually enter the stage and examine the items, while a National Park Ranger addresses the audience to welcome them to the exhibit. Bit by bit, some of the visitors remove items and don costume pieces before the play begins. I think this is a clever concept: instead of watching the event itself, we acknowledge that we are watching a re-creation of the event. This is what we are always doing when we see history reproduced, but this ingeniously reinforces that fact.

In a way, 1776 is a forefather to the 2015 phenomenon, Lin-Manuel’s Hamilton. And in its own way, Ford’s production of 1776 is a descendant of Hamilton. The two plays share a number of characters, though George Washington is only referred to in 1776 and Adams is the subject of a number cut from Hamilton. Another of Hamilton’s defining characteristics with portraying historical figures known to be White by actors who are not, with the idea that American history (warts and all) should belong to all Americans, regardless of race or ethnicity. While this 1776 has a predominantly cast, Black actors fill a number of roles, including two of the most prominent, Benjamin Franklin and Abigail Adams. And if we can suspend our preconception (based on fact) of Thomas Jefferson as much taller than John Adams, we can certainly accept Black actors in historically White characters.

Jonathan Atkinson as John Adams and Kanysha Williams as Abigail Adams in 1776 at Ford's Theatre. Photo credit: Scott Suchman.

Which brings us (at last) to the cast, which is more than up to the task of recreating our history. Jonathan Atkinson as John Adams has a dynamic presence and brings considerable energy as the whirlwind at the center of the action. While I will always see original cast member William Daniels in the role, Atkinson creates his own character, and has a rich, resonant voice that smoothly slices through the air. Derrick D. Truby Jr. is more than suitable as Benjamin Franklin, physically and vocally, in a performance that shows us Franklin as slyly aware of the fame that will follow. I have admired Jake Loewenthal in other productions, most recently as Motel in Signature Theatre’s Fiddler on the Roof. While he lacks Jefferson’s height (a Google search gives Jefferson a height of 6’2-1/2” as one of our five tallest presidents and Adams a height of 5’7” as one of our five shortest), Lewenthal shows us the passion, moral commitment, integrity, and pride of authorship Jefferson needs.

As to the rest: Kanysha Williams is a haunting and ethereal Abigail Adams, with a voice like an angel and a sometimes-sarcastic way with a line. Justine “Icy” Moral brings humor, vivacity, and innocence to her turn as Martha Jefferson. Evan Casey is confident and a bit devious as John Dickinson, especially leading “Cool, Cool, Considerate Men” (which might well have been written in our current decade). Jay Frisby as James Wilson and John Floyd as Congressional Secretary Charles Thomson are characters who stay mostly in the background, but each has a standout moment (or two) before the day is done. Michael Perrie Jr. is animated, exuberant, and physical as Richard Henry Lee, though his onstage time is limited. (He does manage to milk the audience for an encore of his number.) As Edward Rutledge, who in some ways seems to be the “villain” of the piece as the defender of slavery, calling out the New Englanders who profess to abhor the practice but engage in the shipment of the human cargo and reap their own financial reward, Joe Mallon proves himself a worthy adversary.

In point of fact, every character has individualizing details and each actor has at least one moment to shine. Kudos to the entire cast!

Director/choreographer Luis Salgado does an amazing job bringing this new vision to a classic. I remember 1776 as a musical with sparse choreography, but Salgado has other ideas, using synchronized movement of the cast, often out of the spotlight and in the background, for emphasis: it may not be at the forefront, but it makes a subliminal difference, if nothing else. Daniel Gutiėrrez has created new orchestrations and, with music director Clay Ostwald, stayed true to the source material, but with some welcomed embellishments. Oswald directs an orchestra of eight plus himself, filling the theatre with sound. Milagros Ponce de Leόn’s scenic design recreates enough of the “usual” aspects of the Independence Hall setting (including the calendar and a “scoreboard” of sorts where we can see what the current preferences are for each colony), but with enough adaptations to suit the space. Venus Gulbranson has designed costumes that meet the period and the character, making a whole out of many disparate parts. Lighting designer Venus Gulbranson and projection designer Clint Allen create vivid and sometimes unexpected pictures that evoke mood and location. David Burdies (sound designer) and Kelly Jordan (hair and make-up designer) contribute their expertise to the production, too.

I think this 1776 is a perfect way to honor the 250^th anniversary of American Independence, more substantial than a parade, more meaningful than a wrestling match or an automobile race. It is a way to critically re-examine our past and appreciate where we began. This play in this theatre in this city at this time in history, 1776 earns its standing ovations. The production continues through May 16. Do not miss it. It’s a long time until our 300^th, when I’m sure it will be produced again (though I hope it is produced more often than that!).

The cast of 1776 at Ford's Theatre, performing "Cool, Cool, Considerate Men." Photo credit: Scott Suchman.