Berkshire on Stage

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2026, the 250^th anniversary of our country, is the perfect time to bring back the Tony award musical, 1776, first performed on Broadway in 1969 and made into a popular film in 1972, book by Peter Stone, and music and lyrics by Sherman Edwards. A revival was brought to Broadway in 2022 featuring a diverse cast of women, transgender, and non-binary performers. Sand Lake Center for the Arts, under the direction of Shawn R. Morgan, brings together a huge cast of talented men and two women to re-tell the story of writing the Declaration of Independence, and the difficulties of getting all representatives of the 13 colonies to agree to break away from British rule.

As the audience enters the theater, we find all the actors on-stage, dressed in fabulous period costumes and wigs, chatting with each other in an impressive depiction of Independence Hall, as designed by Director Morgan. I learned later that the material used by gifted Costume Designer, Lisa Morgan, was specifically chosen based on the materials worn by those who lived in the north versus the south. Given that the action begins in May, 1776, the performers are all waving fans, noting their discomfort with the stifling heat inside in Philadelphia, singing, “Open up a window!”

A musical sets its tone and engages the audience with its opening number. “Sit Down, John,” a song depicting the delegates’ frustration with Massachusetts representative, John Adams (Adam M. Coons). An annoying and not well-liked figure, he is desperate to convince the others to pursue independence from England. Performed by the whole cast with power, humor, and harmony, we know we are in for an education and a good time as we watch history unfold.

While Coons’ voice is pleasant and his acting is strong, Travis Brunell’s voice projects well into the theater as Richard Henry Lee. We see his powerful singing and comedy when he is summoned by Benjamin Franklin (Bill Douglas) to take Adams’ place in proposing independence to the Second Continental Congress. Singing “The Lees of Old Virginia,” Lee gets Franklin and Adams to dance with him in this playful, amusing song.

Much of the story involves debate among those in favor of independence with more conservative members who are resistant to abandoning living under British rule. With John Hancock (Tim Orcutt), the president of the Continental Congress, he conducts numerous votes leading to a tie, with the state of New York perpetually abstaining and North Carolina and South Carolina always voting together. We cannot help but be reminded of our bipartisan country today as we watch personal attacks leveled against the delegates, and the difficulties we have agreeing on any legislation. Has anything changed?

A joyful moment occurs when Adams, Franklin, Jefferson (Christopher Urig), Sherman (Anthony Chiffolo), Livingston (Noah Schmitt) sing and dance to “But, Mr. Adams.” No one wants to be tasked with writing the Declaration of Independence. However, we know who winds up with this assignment. The simple choreography by Kelly Sienkiewicz, in this number and in others, amplifies the harmonies and relatedness amongst the performers.

The two women in 1776 who play Abigail Adams (Christine Geraci), wife of John, and Martha Jefferson (Sariah Ashton), wife of Thomas inject an element of love to the story. All male delegates have been away from their wives and families for months, leaving the women the task of running the household, often taking care of sick children and facing financial hardship. Numerous sexual entendres are offered by all cast members. We hear running correspondence between the Adams, set to music, depicting their longing for each other. When Thomas Jefferson is forced to skip a visit home to write the Declaration of Independence, we see a visit to him by Martha, leading to a weekend of lovemaking. A beautiful song, “He Plays the Violin,” sung by Martha in a strong soprano voice, describes Thomas’s other talents which led her to fall in love with him.

However, the most touching moment of the show is performed by Ben Hogan as the Courier, last seen on this stage as a memorable Eugene in Brighton Beach Memoirs. While he periodically walks into the Congress, dressed as a soldier, looking sad and tired while delivering messages, often from the battlefield, he ends Act One with a beautiful song, “Momma, Look Sharp.” In a clear tenor voice, he sings of a friend who is a dying soldier. There is no humor or joy, but a powerful, tender reminder of the price of freedom.

Special mention must be made of Peter Quinones who plays John Dickinson and Brian Sheldon who plays Edward Rutledge. Both project strong voices singing “Cool, Cool, Considerate Men” and “Molasses to Rum,” respectively. We are reminded of the conservatives’ insistence on not eliminating slavery in the Declaration because unanimity in voting would not be possible with its abolishment. The inability to agree to everyone being treated equally is another theme which stubbornly persists 250 years later.

Music Direction by Michael Lotano keeps everyone performing wonderfully to a pre-recorded soundtrack, a difficult proposition requiring perfect cues. Sound Designer, Barry Streifert has a tricky job enabling everyone to be heard. Without microphones in a small space, some singers appear to have weaker voices unless they are directly facing the audience. 

Lighting Designer, Laura Darling effectively highlights singers who have solos, directing our attention to key performers.

Director Morgan has a tall order managing a huge cast, mostly appearing together on the stage, who interact believably, with humor and enthusiasm. Each actor has a different personality and accent, and generously responds and reacts to fellow actors, telling the complicated story of independence and creation of a new form of government. While originally performed in 1969, 1776 at SLCA captivates the current audience, prompting us to hope and vote for our inalienable rights, and pray they are not taken from us. 1776 entertains and educates. Be part of the audience.

“1776” music and lyrics by Sherman Edwards, book by Peter Stone, directed by Shawn Morgan, musical direction by Michael Lotano, running April 10-19, 2026, at the Sand Lake Center for the Arts (2880 NY-43, Averill Park, NY). TICKETS $10-%25  https://www.slca-ctp.org/

aPerformance added Saturday, April 18 at 1:30 pm!