A Review

Birth Of A Nation

By R. J. Donovan

Political conflict is rife. Decision makers are at each other's throats. Revolution is in the air.

Nope, it's not the front page of the morning paper. It's "1776," kicking off the 32nd season at Lyric Stage Company of Boston.

Chronicling the birth of America, the show covers the final weeks of work by the Continental Congress in Philadelphia to devise a plan for independence. Passions soar, tempers flair and what starts out as a clashing conclave of colonies divided eventually turns to a united front joining forces to face a better, if not uncertain, future.

Not in recent memory has the stage at Lyric been so full of actors. Staging movement is a challenge when the set is strewn with people and furniture. Even so, under the direction of Producing Artistic Director Spiro Veloudos, the company of 26 makes the space their own without trampling one another. Choreographer Ilyse Robbins also makes subtle use of the limited area and allows the Patriots a chance to dance in "Cool Considerate Men" (at left).

The storyline is known to one and all. And the finale is inevitable. So the charm lies in how we get there. Rather than a dry recant of who signed what when, "1776" is an engaging tale, punctuated by song and told with humor.

Theatergoers can often have a hard time keeping characters straight when they're faced with a large cast. Not the case here, thanks to Sherman Edwards' score and Peter Stone's book. The story is crystal clear and the musical numbers define character will an amazing craft and economy.

All of which means the excellent cast is able to make the most of individual face time and build strong personalities. For the major characters (John Adams, John Hancock, Benjamin Franklin and Thomas Jefferson) it's not so much an issue of information. We should be familiar with their contributions. However, the detailed script also provides a wonderful opportunity for the audience to click with the lesser known men of history.

For example, Pennsylvania delegate James Wilson (played by John Costa), is faced with having history hang on his single vote. His brief speech and interaction is so sharp and focused, the heart of the man is laid bare.

And when delegate Caesar Rodney (played by John Davin) makes his entrance, having been practically carried from his death bed in Delaware to Philadelphia to sway the vote, there's an audible gasp from the audience.

Peter A. Carey (far left, with Jennifer Ellis as Martha Jefferson at center) delivers a strong performance as John Adams, often tagged "obnoxious and disliked" by his colleagues. He shines in the show's opening number. However, in his long distance moments with wife Abagail (sweetly played by Eileen Nugent), Carey reveals Adams' vulnerable side.

J. T. Turner (above, right) is perfect as Benjamin Franklin. As one of the great minds of his (or any) day, Franklin might have come off as superior and stuffy, however Turner makes him an accessible guy, who, though touched by brilliance, is just as likely to nod off during a conversation.

As Thomas Jefferson, Terrence O'Malley is more interested in the loving attentions of his wife than in scratching out a statement for independence. Timothy John Smith makes for a colorful Richard Henry Lee. And Kevin Ashworth adds a sense of calm as Congress President John Hancock.

In contrast to the scholarly posturing of the delegates, Andrew "Curley" Glynn (with Gordon Baird and Ken Arpino) lends a haunting note on the reality of war with "Momma Look Sharp."

As a group, the company also succeeds in showing that the opposing delegates were great friends as well as debating partners. They may have had vastly different points of view, but they treated each other with respect, even during the most heated arguments. Many were definitely for independence, but many were also undeniably afraid to actually vote for it. The wrath of Mother England loomed large.

Janie E. Howland has devised a very attractive set, nicely lit by Scott Clive. And special attention should be paid to the work of costumer Gail Astrid Buckley. Each of her beautifully realized creations is handsome and unique.

Theater historians will tell you that "1776" probably shouldn't have succeeded in the first place. Lacking in snappy, pop tunes, the show was about a fairly dry topic, with a score by an unknown composer who never wrote another show. The large cast was made up completely of men with the exception of two small female roles. And at well over two hours in length, it was originally performed without an intermission. Further, it had no star pizzazz. Ken Howard, Betty Buckley, William Daniels, Howard Da Silva and others from the original cast would eventually go on to bigger things, but in 1969, they were not major names.

Still, "1776" won over the critics and the public along with The Tony Award for Best Musical, trouncing such formidable competition as "Promises, Promises" and "Hair."

The compelling sentiments expressed in "1776" remain as close to our hearts as ever. As proof, look no further than the crack of applause that rose from the Lyric audience in Act Two when Benjamin Franklin advised "A person who gives up a little of his liberty to attain some security deserves neither liberty nor security."

Then as now, the passion lives on.

"1776" is at Lyric Stage, 140 Clarendon Street in Boston, through October 14. For information, call 617-585-5678.

-- OnStage Boston

 

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