SHOWSTOPPERS' 1776 TAKES ADVANTAGE OF ATMOSPHERE AND DELIVERS PATRIOTIC PERFORMANCE

Theater Babe Says:  Go ... and remember July 4^th is about more than cookouts and fireworks

It is thrilling to walk along Colonial Williamsburg's main drag, to enter Colonial Williamsburg's theatre, to be greeted by a perfectly coiffed and ever-genteel "Martha Washington," and, on the eve of the Independence Day holiday, enter into the world of our founding fathers.  In their performance of 1776, ShowStoppers Productions capitalizes on the ambiance of their locale and presents a respectable replica of the drama that surrounded the Colonies' internal political battle for independence.

The Tony-award winning musical, with music and lyrics by Sherman Edwards and book by Peter Stone, takes a few "literary licenses" with the past – for example, Martha Jefferson suffered a miscarriage during the summer of 1776 and never visited her husband in Philadelphia – but by drawing from letters and other historical documentation it creates an accurate microcosm not only of the age, but of the men who shaped it.  Here, director Ann Morrill Efimetz has assembled a cast of varied age and experience to reconstruct this memorable period, and she should be commended for requiring such perfect diction from each and every actor – vital in a show that relies almost exclusively on dialogue to create the drama. 

David B. Springstead, Sr., as Benjamin Franklin, is the rudder that steers this theatrical ship through its sometimes rough waters.  A veteran of several national tours, including the 30^th Anniversary production of 1776 where he also played Franklin, Mr. Springstead brings his considerable expertise to this amateur presentation with admirable restraint so that he does not overwhelm his less experienced compatriots.  His Franklin is witty, charming, wickedly smart, humorous but with an underlying formidable strength that Mr. Springstead displays at key moments.  Even when he is not speaking, Mr. Springstead commands our attention – he is Franklin, in or out of the spotlight, and the moment when he loses his temper only to painstakingly regain his equanimity is mesmerizing.

As John Adams, Jeffrey T. Nicoloff gives an overtly passionate performance in an interpretation that often loses the deliberateness of the determination that was so characteristic of the historic figure.  He captures Adams' almost palpable frustration with what he views to be the indecisive Continental Congress, particularly during his "Piddle Twiddle" in the opening scene, but his frenetic pace throughout the show undermines the zeal and the vision that should be most prominently revealed in his musical soliloquy, "Is Anybody There?"  Mr. Nicoloff possesses a strong, quality singing voice that is well-suited to the role.

Sam Miller is genial as the mild-mannered but eloquent Thomas Jefferson, though the Theater Babe wishes he would cheat outward slightly to the audience when he first states the purpose for a written declaration so that we can see, as well as hear, his precise summation of the argument.  Katharine McEnery is endearing as Jefferson's wife, Martha, and her lovely singing voice and graceful appeal enchant us every bit as much as she beguiles Franklin and Adams during "He Plays the Violin."

Christopher K. Hull provides a compelling performance as the resolute loyalist John Dickinson.  As the dominant naysayer in the quest for American independence, Mr. Hull's portrayal is believably complacent as he argues for maintenance of the status quo, and he demonstrates a pleasing singing voice in "Cool, Cool Considerate Men."

The most forceful opposition to the Declaration, however, is found in Geoffrey Klein's portrayal of South Carolina delegate, Edward Rutledge.  Although during his spoken lines Mr. Klein's performance is not so nuanced that we recognize the inherent menace lurking beneath the delegate's cultivated manners, Mr. Klein's "Molasses to Rum," a virulent musical denunciation of the role the Northern Colonies played in the slave trade, is powerful and chilling.

Larry Shaw gives a crowd-pleasing performance as Richard Henry Lee, though his pitch during the beginning of his song, "The Lees of Old Virginia," would be immeasurably improved by a more melodic accompaniment.  Frank Connelly makes the most of his relatively minor role as the sycophantic North Carolina delegate, Joseph Hewes, and is consistently amusing without succumbing to the temptation to overact.  As Judge James Wilson, Ron Morgan demonstrates excellent comedic timing, but his portrayal is somewhat at odds with the description of Judge Wilson's personality provided by other characters throughout the show.  As a result of Mr. Morgan's interpretation of Judge Wilson, Mr. Hull's perfectly-delivered line regarding the birth of new nations lacks the impact that it would have had Judge Wilson's character been more reserved.  This production notably welcomed several less experienced actors to the cast in the more minor roles, but they would have benefitted from more direction regarding the importance of engaging in "stage business" even when they had no lines, and the need to react to all of the action that occurs – not just to the lines where a reaction was obviously choreographed.

Perhaps the most profound moment of the show is in Jeremy Bustin's performance as the nameless character known only as the "Courier."  In a dramatic contrast to the philosophical debate about rights and freedom that drives the majority of the show, the Courier sings, "Mama, Look Sharp," a description of the harsh realities of war and a reminder that theoretical ideals can be won only at the cost of individual human sacrifice.  Mr. Bustin's rendition is purposefully simple and breathtaking, displaying his voice to full advantage and evoking such emotion that we cannot help but be moved by the losses he poignantly describes. 

The set, which ShowStoppers obtained from the Ford's Theatre, is gorgeous – and large.  Maybe because it was designed for a bigger space, the set dwarfs the Kimball Theatre stage and gives the impression that the delegates' seats and tables are congested.  It limits the space available to the actors to move about, primarily constraining them to the small area around their designated seat.

Certain other technical difficulties are unnecessarily distracting in what is generally an enjoyable performance.  Most of the scenes slide into each other without blackouts, permitting us to view the addition and removal of various pieces of furniture.  That's fine when costumed cast members are doing the change, but several times a stagehand moves about, dressed in an obviously modern outfit of a black shirt and khaki shorts, jarring us out of the Colonial atmosphere.  The costumes, on loan from Colonial Williamsburg, are authentic and attractive, but it appears as if the characters wear whatever costume fit best, rather than what outfit most suits the character.  For example, while the other delegates are clad for the most part in dark or earthen tones, Lewis Morris, a delegate from New York with comparatively few lines, wears a fire-engine red coat that drags our attention away from what should be the focus of the scene every time he so much as shifts in his seat.

Offstage, the Saturday night performance would have benefitted from a staff member prohibiting latecomers from taking their seats until a break in the production.  In both acts, we were disturbed by several rude theatergoers who insisted on taking their seats – frequently in the middle of a row – well after the performance started, disrupting the enjoyment of those who had the courtesy to arrive in a timely manner.  The Theater Babe was similarly shocked at the command she received from an usher to share a single program with her three companions.  At $22.00 per ticket – almost 25% more than the cost of comparable regional community theatre productions – each attendee is entitled to receive a program. 

Bottom line?  1776 is a difficult show for a community theatre to produce because it requires so very many talented men of a certain age.  The ambiance of the setting -- inside and out -- and the captivating performances of particularly Mr. Springstead, Mr. Bustin, Mr. Klein and Ms. McEnery make this a noteworthy production that is worth the time and the ticket price.

Remaining performances are July 1st at 8:00 p.m. and July 3rd at 7:30 p.m.

at the Kimball Theatre, 4242 West Duke of Gloucester Street,

Merchants Square, Williamsburg, Virginia.

General admission is $22, and tickets can be obtained

by calling 1-800-HISTORY.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.