Santino Fontana (John Adams), John Larroquette (Benjamin Franklin), and John Behlmann (Thomas Jefferson). Photo: Joan Marcus Like the thirteen colonies awkwardly hammered into a union, the musical 1776, which is about that hammering, is a bizarre construction that should not work. The idea for the show was outré in itself, let alone in its provenance: It was the dreamchild of a New Jersey schoolteacher and passable pop songwriter named Sherman Edward. By the time he got his historical costume musical about the ratification of the Declaration of Independence on the boards, in 1969, the Vietnam War was in full rage and game-changers like Hair and Cabaret had blown away the Broadway template. Who would sit for a longish (and originally intermission-less) show featuring grumpy old men doing gavottes in breeches? A show with hardly any women, unusually few songs (at one point, 30 minutes go by with no music at all), and no inherent suspense? But the oddness of 1776 turned out to be its genius. Peter Stone, hired to reshape Edwards’s dry chronicle of three months in Philadelphia into a feasible drama, figured out that even with a foregone conclusion the battle could be surprising; 1776 is not so… Read full this story
- Theater Review: The
- Theater Review: Aristophanes’
- Theater Review: Is Theresa Rebeck Interested in Sarah Bernhardt, or Only Pretending to Be?
- Theater Review: Ivo van Hove’s
- Theater Review: Geopolitics and the Pick and Roll, in
- Theater Review: In Spandex and Sweat,
- Theater Review: An
- Theater Review: Jonathan Larson Before He Blew Up Big, on View in
- Theater Reviews: Contemporary Northern Prep and Southern Gothic, in
- Theater Review: Lin-Manuel Miranda’s
Theater Review: The Encores! Revival of have 264 words, post on www.vulture.com at March 31, 2016. This is cached page on wBlogs. If you want remove this page, please contact us.