When Katherine Beeson’s 20-year dream of directing “1776” came true, she didn’t need to get area performers for the musical, presented by the West Allis Players.
Instead, she has somehow resurrected the men representing the 13 colonies who signed the Declaration of Independence on July 4, 1776 for the show.
So invested are the performers in their roles you can feel the presence of their characters: their passion, their anger, their disgust, their joy, their sense of duty and commitment, their intelligence, their discomfort in the oppressive heat with buzzing flies in the room.
Joe Nolan IS John Adams. Hal Erickson IS Benjamin Franklin. Dave Jirik IS John Dickinson. Coltyn Von Deylen IS Edward Rutledge. Paul Weir IS Stephen Hopkins. Matt Hoye IS Thomas Jefferson. Robert Best IS John Hancock. And so on.
Beeson’s own emotional attachment to this show shines through each and every real-life character who risked his own life to defy the British crown and form a nation. As Ben Franklin says during the debate on independency: “We’re a new nationality; we require a new nation.”
The show provides a window into the personalities and passions of the representatives of the 13 colonies, as well as the considerable powers of persuasion they possessed, as they debate the merits of independence from England and the document written to declare their independence. These are not stodgy, one-dimensional historical cutouts. They are flesh and blood, all so well portrayed.
There are moments of levity, more than a few bawdy references, some charming tunes and light-hearted banter. But the scenes that stand out are the fiery speeches, as well as some wonderfully poignant musical moments.
In this show, most of the key action revolves around the two major proponents of independence, John Adams (Nolan), delegate from Massachusetts, and Ben Franklin (Erickson), delegate from Pennsylvania whose wit and congeniality provide a perfect counter-balance to the prickly Adams, who is called “obnoxious and disliked” by colleagues.
A more perfect pair, I couldn’t imagine. Nolan as Adams is relentless, tireless in his pursuit of independent colonies. A big plus is his pure, full voice that richly delivers several tunes and pairs nicely with his wife Abigail (Angie Rodenkirch), who converses with him throughout the show via correspondence.
Erickson’s Franklin is so spot on that one almost feels he has left his heavenly home for an earthly visit. Erickson’s Franklin has a mischievous laugh and considerable charm – sort of “the life of the party.” He delivers the wit of America’s foremost Renaissance man with impeccable timing. His engagement with Nolan’s Adams and other characters couldn’t be better. He also proves to be a capable and engaging song and dance man.
As Dickinson, Jirik represents the most ardent supporters of King George and the crown. He chides Adams mercilessly in his tirade against independence. He ridicules Adams’ idea of the “spirit” in the colonies while there are no army, navy or other necessities of a nation. “What is so terrible about being called an Englishman?” Dickinson wonders. Jirik carries himself like a true statesman as he makes his case eloquently.
All the representatives have their moments. Some are small and effective, while others fill the room at Independence Hall with their fire. Such is the case of Von Deylen’s Edward Rutledge, the delegate from South Carolina who insists that an anti-slavery paragraph be removed from the Declaration. He spews his contempt for the hypocrisy of the northern colony delegates, many of whom own slaves themselves, in his stirring “Molasses to Rum to Slaves.” As Rutledge, Von Deylen’s anger is like a runaway freight train as he prowls throughout the hall, his well-trained voice rising and falling beautifully in passionate crescendos. A real highlight reel.
Another highlight is Ellen Therese as Martha Jefferson, who renders a charming, crystal clear “He Plays the Violin,” as she explains what it is that charms her about her husband as he embarks on writing the Declaration of Independence.
Nick Jungers is all spunk as he sings an ode to his Lee family heritage (and to “ly” adverbs) in Virginia, the oldest colony and the one to deliver the resolution for independence. Another charming bit is “The Egg,” which opens Act II, in which Adams, Jefferson and Franklin are “waiting for the egg to hatch … in this congressional incubator.”
But perhaps the most moving number is one that puts the focus on the fight in the field for independence. The song is “Momma, Look Sharp,” sung by the young courier (Abby Von Deylen, wife of Coltyn), who periodically delivers messages to the Congress from Commander Washington and others. The courier muses with the congressional custodian, Andrew McNair (Randall J. Tranowski), in the empty chamber about two friends who died in battle. Abby Von Deylen, sings the simple chant with a mesmerizing, haunting quality – with McNair joining in later -- the somber mood amplified by Zach Buehler’s lovely violin playing.
Marshall Mauney directs the nine-member orchestra, which handles Sherman Edwards’ music wonderfully and keeps a good balance with the vocalists. Sound is crisp and ample to highlight Edwards’ lyrics and Peter Stone’s book. Well-fitting period costumes and a handsome set (Paul Weir, who also delivered a fine comic performance as Stephen Hopkins), complete with four elegant chandeliers, provide the perfect palette for painting this important portrait of American history.
If you go
Who: West Allis Players
What: “1776”
When: 2 p.m. Sunday, July 24 and 31; 7:30 p.m. Friday and Saturday, July 29 and 30
Where: West Allis Central High School Auditorium, 8516 W. Lincoln Ave.