(Production photo by Jonathan Steele)

by Tim Leininger

IVORYTON — Well, it’s the 250^th anniversary of the independence of the United States from the tyrant King George III, and what better musical to ring in the semiquincentennial than the Sherman Edwards classic 1776, with music, lyrics and concept by Edwards, book by Peter Stone, and directed by Kenn McLaughlin, now staged at Ivoryton Playhouse through July 26 at their theater at 103 Main St.

            On the surface 1776 is a patriotic piece celebrating the coming together of 13 different colonies with 13 different sets of priorities learning to work together to form a more perfect union. But there’s a deeper, intentionally disconcerting message behind this musical about the formation of what would be called the Great America Experiment. The musical, being released in 1969, when the United States was in the middle of the Civil Rights Movement was embattled by assassinations and brutality by southern racists, depicts a group of men who are, as a whole, not ready to address their greatest sin, the mistreatment and subjugation of non-white people groups, specifically in this case the enslavement of Black people.

(Production photo by Jonathan Steele)

The show’s two primary protagonists, John Adams (Mark Aldrich) and Benjamin Franklin (R. Bruce Connelly), both abolitionists, and pro-independence, must first convince Thomas Jefferson (Andrew Fehrenbacher) to write a legal document declaring the colonies’ independence from Great Britain, a rather comical adventure that requires placating Jefferson’s longing to be with his wife Martha (Emelie Latzer). Once Jefferson gets a declaration written, the trio must convince the rest of the Second Continental Congress that it’s worth unanimously ratifying.

The debate expands as loyalists to the crown like John Dickerson of Pennsylvania (Josh Powell) argues that they would all be executed if they sign the declaration and lose the war against the British. His song “Cool, Cool Considerate Men,” which Powell performs with the ensemble with proper piety and pomposity, is a brutal inditement by composer Edwards on conservativism in the United States, essentially calling conservatives out as a group of people who would be British loyalists today if the revolution was to happen now.

(Production photo by Jonathan Steele)

The other major hurdle is Jefferson’s call for the abolition of slavery in the declaration, despite himself being a slave owner. Despite his protestations to the practice, Jefferson only ever liberated 10 of the approximately 600 slaves he owned in his lifetime. This hypocrisy becomes a sticking point with the southern delegates who are all slave owners themselves. South Carolinian Edward Rutledge, played with proper holier than thou arrogance calls out not only Jefferson, but Adams as well in the brutal indictment toward American capitalistic hypocrisy “Molasses to Rum.”

            Every American knows how the musical narratively ends. This country wouldn’t exist without it, but Edwards leaves us with a musical warning, a call by Adams “Is Anybody There?” for people who will continue to fight for freedom. Edwards’ score closing not in patriotic harmonic resolution, but in uncertain dissonance, expressing the eternal fragility in which this country remains.

(Production photo by Jonathan Steele)

            Ivoryton gives the musical the due respect it deserves. Amy Jones’ music direction gives a robust full orchestral sound coupled with the period simplicity of a harpsicord or a violin, suitably balanced by Rhian Franchebois’ sound design. Starlet Jacobs’ scenic design, though, felt a little too fragile with the upstage flats, and Heidi Hanson’s costumes feel a bit uneven.

            As an ensemble, the cast is excellent. Fehrenbacher’s Jefferson is the most stoic I’ve seen, which may be good or bad depending on your taste. Latzer is great in her moment as Martha Jefferson, singing a beautiful rendition of “He Plays the Violin.” Connelly’s Franklin and Aldrich’s John Adams don’t always work well together. Connelly’s Franklin feels understaed against Aldrich’s Adams which is overly broad. I enjoyed Connelly’s Franklin as he lets his witticisms be delivered with delightful impishness. Aldrich uses unnecessary indicating in his actions creating an uneven quality between him and Connelly and Fehrenbacher. His chemistry with Kelly McCormick, though, who plays his long-suffering wife Abigail, is great. Director McLaughlin is able to beautifully balance the two with Jessica Drayton’s lighting design, keeping the two so tightly pinpointed, allowing their actions to be simple and beautifully expressive.

(Production photo by Jonathan Steele)

            There are some weak spots in Ivoryton’s 1776, but an overall great cast, coupled with a clear vision by McLaughlin, their production of this cautionary celebration of independence is a great way to celebrate our country’s 250th anniversary.

TICKETS: https://www.ivorytonplayhouse.org/

PRODUCTION

Music, Lyrics and Concept by Sherman Edwards; Book by Peter Stone; Directed by kenn McLaughlin; Stage Manager: James Joseph Clark; Musical Director: Amy Jones; Choreographer: Robert Mintz; Assistant Stage manager: Alison Savino; Scenic Design: Starlet Jacobs; Lighting Design: Jessica Drayton; Sound Design: Rhian Franchebois; Costume Design: Heidi Hanson; Props Design: Kat Schorn

CAST

Mark Aldrich as John Adams

John C. Baker as Andrew McNair

Michael Barra as Col. Thomas McKean

Tommy Betz as Courier

Cory Candelet as Lewis Morris

Michael Cartwright as Samuel Chase

Ben Clouse as Dr. Josiah Bartlett

Sawyer Coffin as Robert Livingston

R. Bruce Connelly as Benjamin Franklin

Christopher Conte as George Read

Galen Donovan as Joseph Hewes

Andrew Fehrenbacher as Thomas Jefferson

Joey Herr as Richard Henry Lee

Joshua Steele Kelly as Roger Sherman

Emelie Latzer as Martha Jefferson

Kenneth Linsley as John Hancock

Kenneth Robert Marlo as Rev. Jonathan Witherspoon

Kelly McCormick as Abigail Adams

Dino Nicandros as Edward Rutledge

William Pazdziora as Charles Thompson

Elio Perez as Caesar Rodney

Jason Pintar as Dr. Lyman Hall

Josh Powell as John Dickerson

Alex Stone as James Wilson

Rebecca Tobin as Leather Apron

Allan Zeller as Stephen Hopkins

Adelina Peretti: Female Swing

Nathan Szymanski: Male Swing