For opening weekend, here are 10 Things to Know about Good Company’s new production of ‘1776’
By Donald Munro
In the Broadway musical “1776,” it doesn’t take long for the audience to be reminded that the Founding Fathers, who our culture tends to want to turn into semi-deities, were all too human. Remember in school learning how messy it was putting together the Declaration of Independence? Getting that document approved wasn’t pretty.
The show begins with a musical number that has all the delegates telling another delegate to sit down and shut up, says director Mark Standriff. “The audience sees us immediately pulling these historical icons down from their pedestals – an extraordinary way to start a show!”
The Good Company Players revival is in its opening weekend at Roger Rocka’s Dinner Theater. For a preview, Standriff weighed in on Ten Things to Know about the show and production:
1. ‘1776’ has been around for a while, but it’s not nearly as old as the United States.
It opened on Broadway in 1969 and ran for 1,217 performances, winning the Tony Award for Best Musical in 1970. “It was also the first full‐scale, full‐length Broadway show ever presented at the White House, receiving a standing ovation – from both sides of the political aisle!” Standriff says. The play was turned into a movie in 1972 with most of the original Broadway cast and soon became a staple in community and regional theaters.
2. Its creator, Sherman Edwards, wasn’t sure if he could even get “1776” on stage.
Edwards, a high school history teacher, realized that a “behind the scenes” drama about the creation of the Declaration of Independence could be a very interesting musical. For seven years, Edwards devoted himself to writing songs and bringing his concept to life, but was rejected by every playwright and producer because no one thought this musical was a good idea in a time when people started questioning many of our American values, Standriff says.
3. For Standriff, the show is incredibly timely, even more than 50 years after it was written.
“The show was first produced at a time when America was as deeply divided as it is today, with the Vietnam War separating generations when the musical opened,” he says. “Yet just like it did back then, ‘1776’ shows us the way in the original ‘room where it happens,’ putting a human face on history and placing the Founding Fathers in the proper perspective: proud, frightened, uncertain, yet determined to do the right thing. I think our audiences will instantly understand how similar it is to today’s political environment where discussions about democracy, representation, and freedom continue to rage.”
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Peter Stone, the show’s librettist, says: “It is the surprise of discovering that our founding fathers were men of flesh and blood and not cardboard, that our history is fascinating – and that the events of July 4 … mean more to us during these troubled times than most of us could ever imagine.”
4. It’s full of humor and humanity.
Standriff marvels that the strongest opponent to American independence, John Dickinson, refuses to sign the Declaration – yet resolves to join the Continental Army and fight in its defense. (“Imagine that happening today,” he says.)
5. Standriff marked the Bicentennial in 1976 by performing in a production of “1776” for the U.S. Air Force Academy.
He played Col. Thomas McKean (a pretty good role for a freshman!) at the Academy in 1976. The production was sponsored by the American Revolutionary Bicentennial Committee and played Air Force bases around the country. He even got to perform scenes from the show inside Independence Hall in Philadelphia.
“I still get goosebumps thinking about that experience,” he says.
6. This is Standriff’s third time directing the show.
Standriff directed it in 1993 at the Toledo Rep, in 1998 at the Croswell Opera House, and now at Roger Rocka’s for Good Company Players.
“Every cast has its own personality and energy, but they all have one thing in common, a commitment to excellence,” he says. ”They worked HARD to bring history to life and make it exciting and compelling and funny and a little uncomfortable. My casts all ended up diving into the details about the historical characters they play, and it helped to bring a richness and appreciation to playing these remarkable men and women.”
7. John Adams is the central character.
For Standriff, his viewpoint on the character has shifted over the years.
“He gets more complex each time! Adams is one of the great roles in musical theater, full of bravado and bluster, a force of nature that drives the story as well as the production. But there are so many nuances written into the role. He’s ‘obnoxious and disliked”’(one of the show’s running gags), yet he shows an ironic self-awareness that’s also charming. He’s socially awkward…yet displays a surprisingly loving and tender side in conversations with his wife, Abigail.
“That relationship has been the biggest revelation to me, especially after reading a book of the letters written between John and Abigail Adams. They reflect a deep, intellectual and emotional affection for one another, underscored by Abigail’s directness and candor. She famously instructed her husband to ‘Remember the Ladies and be more generous and favourable to them than your ancestors. Do not put such unlimited power into the hands of the Husbands. Remember all Men would be tyrants if they could.’ (I love that!) Abby was a remarkable person, a true partner and equal to John in every way, and I’m convinced that we would never have gained independence if it weren’t for Abigail Adams!”
8. Jonathan Wheeler plays Adams with gusto.
He’s familiar to local audiences from roles like Tommy DeVito in “Jersey Boys” and most recently Dr. Pommater in “Waitress” for GCP. “He’s wonderful in his star turn and brings an impressive depth of emotion and empathy to a very challenging role.”
9. Fun facts
President Nixon tried to pressure the production to remove “Cool, Cool, Considerate Men” (a number where conservatives are depicted in a less-than-appealing light) TWICE from both the stage and movie version. And: “1776” beat out “Hair” for Best Musical in 1970, which shocked the theater world. Ironically, both shows were touring in San Francisco at the same time, and the cast of “Hair” went to see “1776” on one of their dark nights. After the performance, the “Hair” cast greeted the “1776” cast at the stage door at the end of the show by singing “America, the Beautiful”. Amazing!
10. Finally, there’s a special “Easter egg” in the production.
Aaron Sorkin is a big fan of “1776” and placed a number of lines from the musical as Easter eggs in episodes of “The West Wing.” As a tribute to Sorkin, Standriff placed his own “West Wing” Easter egg in this production. It has to do with writing under pressure. He’s offering a signed copy of the Declaration by the cast to the first person to recognize it.
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Jackie Ryle
What a good read, Donald. Thank you. With a delay due to onset of stomach flu, I’m scheduled to see this rendition next week. Your words help me to both understand and appreciate performances. This was an especially good one.
Steph
I hope the West Wing Easter egg is “This Is A Time For American Heroes And We Reach For The Stars,” or “Government is a place where people come together and no one gets left behind…No one gets left behind” – but it’s probably “I can’t make it perfect but I can make it good enough”