As Mike and I are easing back into our normal levels theater-going, our goal for the 2022-2023 season is to see all of the musicals that open on Broadway - brand new or revival. So far, so good.
Since our site has been on hiatus, though, we didn't publish reviews of two shows that we saw: Into the Woods, and the subject of today's post, 1776. Well, for these two, we've decided to try a new review format, where each of us jot down our thoughts on various aspects of the production separately. As the title says, these reviews are a "He Said/He Said" situation! We hope you like it, and will let us know your thoughts on the format.
Review of the Sunday, September 25, 2022 matinee preview performance at The American Airlines Theatre in New York City. A Roundabout Theater Company production. Starring Crystal Lucas-Perry, Carolee Carmello, Elizabeth A. Davis, Eryn LeCroy, Liz Mikel, Patrena Murray and Sara Porkalob. Book by Peter Stone. Concept, music and lyrics by Sherman Edwards. Set design by Scott Pask. Costume design by Emilio Sosa. Lighting design by Jen Schriever. Sound design by Jonathan Deans. Projection design by David Bengali. Choreography by Jeffrey L. Page. Direction by Jeffrey L. Page and Diane Paulus. 2 hours, 45 minutes, including one intermission.
NOTE: This production continues through January 8, 2023. Kristolyn Lloyd has replaced Crystal Lucas-Perry as John Adams.
First me, then Mike!
| Jeff Says... | 1776 |
| Direction & Choreography |
Direction:
Jeffrey L. Page & Diane Paulus | On paper, their non-traditional casting must have seemed revolutionary, but in execution, it didn't make the impression they hoped for. Staging-wise, there were some interesting moments, but it was mostly what the script called for. Interesting that they didn't do the famous tableau from the famous painting. Diane Paulus has done more creative work, but this less-is-more approach was good for the piece. |
Choreography:
Jeffrey L. Page | Lots of table-ography created appropriate tension. The rest was fine, if unremarkable. That said, "Molasses to Rum" was breathtaking. |
| Overall Comment: | The non-traditional casting doesn't make the statement they seem to think it does, though unintentionally it makes a strong case for simply casting the right people in the right roles no matter their pronouns, gender or racial background. |
| Technical Elements |
| Set: Scott Pask | The set was fine for what it was. It certainly didn't get in the way, but didn't really add much. I found the barrels to be a little heavy-handed, especially in the finale. It felt like it whittled down the cause to one issue. |
Lights:
Jennifer Schriever | Nothing special to see here - they did the job, nothing more. |
Costumes:
Emilio Sosa | The best technical aspect of the show, each one detailed. And the way they were used at the opening of the show was brilliant. |
Sound:
Jonathan Deans | Clear as a bell! |
Projections:
David Bengali | Generally, the projections really helped - the voting scenes were certainly heightened by them. The big montage bridging today and yesteryear was nice, but so typical of that kind of thing. Including some startling images might have made the point even more impactful. |
| Overall Comment: | All of the elements serve the piece well. Those barrels, though... |
| Performances |
| Crystal Lucas-Perry (John Adams) | A terrific leading player, she was strong and really impactful. She really played up the irony of being right (mostly) and being thought of as a pain in the ass to everyone else. |
| Carolee Carmello (John Dickinson) | Her arrogance and self-importance should have been obnoxious. Instead it was intoxicating. Her portrayal made the conflict between Dickinson and Adams a real nail-biter. |
| Elizabeth A. Davis (Thomas Jefferson) | I have yet to see Ms. Davis be anything but spectacular. Her being visibly pregnant added quite a nice touch to the idea that Jefferson gave birth to a nation. Her quiet brooding provided a palpable undercurrent of tension. Is there a better Broadway violinist? Give this woman a leading role! |
Liz Mikel
(John Hancock) | Always a presence, she was perfectly cast as the nearly mythic John Hancock. A performance to match his giant signature! |
| Patrena Murray (Benjamin Franklin) | Grizzled and wise, with a biting sense of humor - just what I think Ben Franklin would have been. It's not her fault that her resemblence (physically and sonically) to Whoopi Goldberg was distracting. |
Sara Porkalob
(Edward Rutledge) | What a performance! Cruel and down right mean, it all made sense when they unleashed "Molasses to Rum" and left nothing but scorched earth in its wake. |
| Tiffani Barbour (Andrew McNair) | Interesting how an essentially bit part can have such impact. |
Eryn Lecroy
(Martha Jefferson) | I found her to be lovely, and with a fine voice. "He Plays the Violin" was a stand-out moment and excellent act closer. |
| The Ensemble | Each person made an impression and a meal out of a side dish. Perfect for a Congress. Too bad ours doesn't work as well together. |
| Breakout Performances | Sara Porkalob was a real stunner. I hope her frank, very public honesty, however refreshing that it was, doesn't make her a casting pariah. |
| Overall Comment: | The quality of the acting and singing here was way above-average. The cast would have been just as impactful if they all sat on stools and read from scripts. |
| Grade: | B- |
| Overall Impression |
| I am so glad to have finally seen a production of 1776! Though its attempt to "update" this classic was pretty much all for naught, the show was still occasionally thought-provoking and always a good time. |
| Mike Says... | 1776 |
| Direction & Choreography |
Direction:
Jeffrey L. Page & Diane Paulus | I enjoyed most of their choices. I felt like I saw a version of a real show without too extreme an attempt to make it current. Just a few moments felt heavy-handed, like the very beginning and the video montage. |
Choreography:
Jeffrey L. Page | Mostly felt like "stage movement' rather than dancing, and it was fine. Nothing special! |
| Overall Comment: | I'm glad to have seen a professional performance of this show, which I've been hearing about forever but had never seen in any form. The concept - a more or less traditional physical presentation with nontraditional casting - was not distracting, but probably really only paid dividends in one or two scenes. And of course, it's not exactly an original concept for a Broadway musical. This isn't a top-tier Paulus revival by any means, but I'm very glad to have seen it. |
| Technical Elements |
Set:
Scott Pask | Very simple, but did a good job filling up the large stage. |
Lights:
Jennifer Schriever | No complaints! |
Costumes:
Emilio Sosa | Though I said above that the initial concept was heavy-handed, I admire the cleverness of the costumes in making it possible. The period costumes looked good and were about what you'd expect. |
Sound:
Jonathan Deans | I didn't have any issues here! |
Projections:
David Bengali | These were a crucial part of the overall look of the show, and did a fine job establishing the occasional transitions between locations. |
| Overall Comment: | For most of the show, the overall look was what we've come to expect for a story from this period, meaning the designers did their job in executing the concept behind this production. |
| Performances |
| Crystal Lucas-Perry (John Adams) | Lucas-Perry did an amazing job as the dramatic center of an epic show. Her role isn't quite as juicy as some others, but she definitely held her own and then some. |
| Carolee Carmello (John Dickinson) | Carmello did a good job making this character appropriately annoying without erasing his humanity. You understood why Dickinson made everyone hate him, and why he deserved a round of applause for his principled stance. |
| Elizabeth A. Davis (Thomas Jefferson) | The violin-toting Davis strikes again. Her quiet, almost resigned demeanor embodied Jeffereson's intelligence and his struggle to remain patient with others' lack thereof. In retrospect, probably my favorite performance from the show. |
Liz Mikel
(John Hancock) | Mikel was literally in the background for most of the show, but her appealing performance was appropriate for this role. |
| Patrena Murray (Benjamin Franklin) | Probably the least convincing of the principal performers for me; just a bit too Whoopi-ish for my taste. |
Sara Porkalob
(Edward Rutledge) | Porkalob did a fine job throughout, and really shone in the show's heaviest scene (and the one that really justified this revival's concept). |
| Tiffani Barbour (Andrew McNair) | One of those performers who didn't have that much to do but managed to draw your attention anyhow! |
Eryn Lecroy
(Martha Jefferson) | I've heard that some didn't like Lecroy's particularly vivid take on her big song, but it just seemed to fit with the relationship between Martha and Thomas, as portrayed in this production. |
| The Ensemble | I think they were convincing as a body struggling to overcome its divisions. |
| Breakout Performances | Not exactly a breakout, but I would hope this would lead to some more big roles for Elizabeth A. Davis. |
| Overall Comment: | Even if this production didn't hit all of its marks, it's hard to fault the casting. |
| Grade: | B- |
| Overall Impression |
| Most elements of this production were fine but not stunning. For me, the cast drags it just above C-level. |
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