My Variety Review: '1776' Revival of Broadway

The opening moments of this exuberant, thought-provoking and radical revival of “1776” makes it clear who was missing from John Trumbull’s famous painting of the signers of the Declaration of Independence.

As the female, transgender, non-binary and racially and ethnically diverse cast arrives on stage, exchanges street clothes for period waistcoats and literally steps into the black buckled shoes of this country’s forefathers, we know immediately that this will be a theatrical re-imagining not only of history, but the acclaimed Tony Award-winning 1969 musical.

Co-directors Diane Paulus and Jeffrey L. Page apply a bold Brechtian brush to this picture with its casting, staging, musical arrangements and design. Without changing the narrative, it adds layers of context that offer further shadings to the musical, even though at times the results are somewhat crude, clunky or overdone.

It’s worth noting the original conception and musicalization by Sherman Edwards, with a book by Peter Stone, was revolutionary first, both in form, content and narrative accomplishment, all while working within the template of a traditional Broadway musical. But history marches on and so do theatrical tastes, aesthetics and perspectives, and here the presentation is decisively big, busy and, well, declarative. But this, too, is a “1776” worth celebrating.

Co-director Page also choreographs the movement and dance, making its tableaux very vivant — and then some. This “1776” pulsates with energy, snaps with attitude and enlivens history, which take place mostly in the Chamber of the Continental Congress in Philadelphia as these colonial representatives argue about breaking ties with England and constructing what would eventually be a clearly imperfect union.

Obnoxious, disliked and obsessively determined, John Adams (a solid Crystal Lucas-Perry) leads the charge for independence, along with Benjamin Franklin (Patrena Murray, delightful as the scene-stealing sage) and Thomas Jefferson (Elizabeth A. Davis).

The tut-tutting opposition is led by John Dickinson (Carolee Carmello, in brilliant voice) and the other conservatives, deliciously depicted in “Cool, Cool, Considerate Men,” a witty yet chilling highlight once again.

In this new tapestry, some contextual touches work better than others. The addition of dialogue with Abigail Adams urging her husband to “remember the ladies” in the crafting of a new nation is certainly potent. And projections of two centuries of civil activism and protests gives an epic sweep to the otherwise twee “The Egg.” Jefferson’s ownership of slaves is silently and…|CONTINUED|