THEATRIX GIVES TIMELESS 1776

Theater Babe Says:  Go and experience the human drama behind the Declaration

Especially to American audiences, the outcome of the drama central to 1776 is not in doubt:  we know that Jefferson wrote the Declaration of Independence ... we know it was adopted ... and we know that, with help from our French allies, Washington and his ragged militia ultimately booted the British back across the pond. 

But what we know fades into insignificance as we become immersed in Theatrix's fine production of 1776.  Director Rocco Wilson ably leads his cast into the nuances of the 18^th century with few missteps, and they so embrace the dignity and formality of the period that we are enveloped in an era when the term "gentleman" was a moniker of respect, and the concept of "sacred honor" was more than mere words on a page.  The cast almost uniformly maintains that underlying sense of decorum throughout the show so that we believe they are reflections of the past, rather than just 21^st century actors in wigs and short pants.  Because the period of the piece is so firmly established in this production, we become involved their tension and uncertainty and almost forget we know how it ends.

Matthew Friedman gives a believable and layered performance as John Adams.  His frustration alternately seethes and bubbles over, but is tinged with just the slightest bit of vulnerability; he is brilliant and committed to the cause, but can't quite understand why he's "obnoxious and disliked" or why his iron-fist-in-an-iron-glove approach is ineffective.  We feel his desperation and confusion, as well as the determination with which he pushes both aside to strategize and force his vision through what he views as an unreasonable, short-sighted Congress.  Mr. Friedman has a beautiful singing voice, shown to advantage in "Is Anybody There?"  The Theater Babe only wishes that he would hold his ending pose – and that Dave Zilber, as Dr. Lyman Hall, would delay his entrance just slightly – so that we might reward Mr. Friedman's musical monologue.

As Thomas Jefferson, Matthew Winning is cerebral and convincing.  When South Carolina delegate Mr. Rutledge, commendably played here by Andrew ("AJ") Lease, challenges Jefferson's written condemnation of slavery, Mr. Winning skillfully demonstrates the internal conflict that issue apparently caused the historic Jefferson.  Garry Manasco gives a pleasing performance as Benjamin Franklin, and displays a rich singing voice.

Mr. Lease's portrayal of Edward Rutledge is charismatic and powerful.  We believe that despite his status as the youngest member of the Continental Congress he is dominant enough to command the respect and deference of his older colleagues, and his courtly manners do not disguise the threat his position poses to the fate of the fledgling nation.  His "Molasses to Rum" is thought-provoking and ruminative and an unusual interpretation of a song that is typically delivered in a more aggressive style.

Stan Eure lights up the stage in his portrayal of Richard Henry Lee during "The Lees of Old Virginia."  Mr. Eure is engaging, his grin infectious and his song is one of the show's highlights.  One of the few jarring notes of this production's depiction of the appropriate time period, however, is when Mr. Eure chose to refer to "Kathy Lee" in the musical recitation of his character's lineage.  It receives a laugh, but the Theater Babe is unconvinced that the quick giggle is worth the disruption to the whole mood of the piece that the cast in general works so hard to generate. 

Similarly (if you'll pardon the pun), Joseph Blessing in his performance as Connecticut delegate Roger Sherman breaks character for a brief moment during the otherwise enjoyable "But, Mr. Adams," when he flashes one of his colleagues an all-too-modern "thumbs-up."  It is a quick moment, to be sure, but it pulls us out of the atmosphere and merely serves as a distraction to what is otherwise a homogenous whole.  Mr. Blessing has a wonderful round, full sound in both his speaking and singing voice, which would benefit from a little more volume.

Other notable performances are found in William Armstrong's portrayal of Col. Thomas McKean, with his fiery disposition and consistent brogue, Marc Dyer's portrayal of cool, collected John Dickinson, and Glenn Stultz as the phlegmatic but amiable Samuel Chase.  Rob Fortner gives a creditable performance as Congressional President John Hancock.  Though his diction is at times a tad fast, he convincingly demonstrates the difficulties inherent in fairly balancing fervid opinions, particularly when he is called to cast the tie-breaking vote on different issues.  Bob Sauls' portrayal of Congressional Secretary Charles Thomson is precise and plausible, and he provides a perfect set-up to Adams' "Is Anybody There?" while displaying a quality singing voice in his own right.

The heart of the show is presented by Laura Oliver's charming depiction of Abigail Adams.  Feisty, but not shrewish, and warm without being cloying, Ms. Oliver captures the intelligence Mrs. Adams revealed in her correspondence and leaves us in no doubt that she supports and loves her husband without being blind to his faults.  In their brief scenes together, Mr. Friedman and Ms. Oliver create a credible chemistry and we are convinced of the united front they present.  Ms. Oliver has a lovely singing voice, and the blend that she and Mr. Friedman display in their duets is superb.

Mr. Wilson, who is also credited for Technical and Set Design, wisely chose to utilize a set that permits the actors to move about freely, and his blocking is subtle yet effective.  Throughout the show, the delegates engage in various subtle tasks – they sip from mugs, look out the windows, write letters – that add to the believability of the whole.  The costumes by Jolene Swezey, are uneven; although they all suggest the 18^th century, some would benefit from tailoring while others fit like the proverbial glove.

The keyboardist, Debbie Garrick, who also served as assistant music director, subtly provides beneficial support in the accompaniment where needed, and Tyler James on the cello is exceptional.

Bottom line?  Theatrix has done a splendid job of recreating the spirit of 1776, and it is well worth the time and the ticket price to attend.

Remaining performances are at 7 p.m. on July 6th and at 2 p.m. & 7 p.m. on July 7th & 8th

at the Barry Robinson Theatre and Fine Arts Center

Bishop Sullivan Catholic High School

4552 Princess Anne Road, Virginia Beach, Virginia 23462.

Tickets are $17.76, with discounts for children, seniors and military

and can be obtained online at www.theatrixproductions.com

or by calling (757) 523-0876.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.