Review: ‘1776,’ When All Men, and Only Men, Were Created Equal

A transformation that’s either wondrous or scandalous, depending on your taste, occurs less than a minute into the Roundabout Theater Company’s otherwise disappointing Broadway revival of “1776.”

Barely a line has been uttered or a note sung when the performers, who identify as female, transgender and nonbinary, and are wearing more-or-less contemporary streetwear, hike up their black tights and white socks to simulate breeches, don buckle shoes in place of clunky boots, step into frock coats of various colonial cuts and become (thanks to Emilio Sosa’s outstanding costume design) our Founding Fathers. That includes Elizabeth A. Davis, who makes a very visibly pregnant Thomas Jefferson.

Though some will see the casting — which is diverse not just in gender but also in race and ethnicity — as a stunt and a travesty, I’m in the wondrous camp. Neither the 1969 musical nor (as “Hamilton” has proved) history itself is so frail as to crumple under new ways of looking at our theatrical and national past. Anyway, if you prefer, you can simply ignore the fact that these fathers aren’t men, and focus — or try to — on the plot, which encompasses nothing less than the months of negotiations and maneuverings that led, just barely, to the Declaration of Independence.

But if you are willing to allow yourself a double vision, as the directors Jeffrey L. Page and Diane Paulus clearly hope, you can take independence a step further. The white maleness of the characters becomes a semi-translucent screen through which we see the many other people, including people like the cast, whom the Declaration never even considered.

For me, that double vision is the best thing about the production, which opened on Thursday at the American Airlines Theater. In theory, it deepens the ideas being batted about in the hot, fetid, fly-infested Philadelphia summer. So the “obnoxious and disliked” John Adams, as played by Crystal Lucas-Perry, who is Black, is not just an abolitionist on principle but in essence. And when Sara Porkalob, as the pro-slavery Edward Rutledge, dissects Adams’s hypocrisy in the song “Molasses to Rum” — showing how the North benefits from the slave trade as well as the South — the fact that she is Filipino American both intensifies and complicates the argument.

If that sort of complication were itself great theater and not just a promising premise, this “1776” might be amazing. That the production is instead so overpumped and overplayed as to be hardly comprehensible is the result of a fundamental misunderstanding of the musical, which is plenty complicated as written — if not so much in its few and often trite songs, by Sherman Edwards, then at least in Peter Stone’s book, a masterpiece of condensation without diminishment.

At first dismissed as Bicentennial-era pageantry, “1776” has survived all the ensuing upheavals of American history precisely because it is, within the confines of the genre, remarkably sophisticated about the forces at play in forging a nation from colonies harboring antithetical philosophies — and in forging a musical from similarly unlikely and conflicting raw materials. An Encores! production in 2016, which featured a racially diverse cast but the usual gender assignments, showed it could be modern and yet thoughtful and moving.

But the current revival seems interested in the cast’s experience at the expense of the audience’s. I can understand that impulse, especially when creating space on a major stage for actors who rarely get it.

Still, the best interpretations are those that, regardless of the performer’s professional history, find feeling in the specific actions of the text rather than in their personal feelings of exclusion from it. The Broadway veteran Carolee Carmello thus creates the character of the Pennsylvania holdout John Dickinson mostly by holding back on the outrage and offering smiles and politesse in its place. And as Abigail Adams, the Broadway newcomer Allyson Kaye Daniel is gently firm and dryly touching, achieving a lovely, modest balance in those contradictions.

More often, though, the performances are so vastly histrionic and unchecked by the social situation (this is Congress, after all) that they seem inside-out. Adams jumps on tables to make points. Patrena Murray so emphasizes Benjamin Franklin’s winky sententiousness that he seems like a joke, not a brilliant tactician. Eryn LeCroy makes of “He Plays the Violin” — a dainty minuet in which Martha Jefferson sings of her love for Thomas — a full-on psychodrama.

It does not help that the new arrangements and orchestrations, aiming to refresh the songs’ profiles in the way the casting is meant to refresh the story, merely make them muddy — and make many of the lyrics unintelligible.

If that’s not always a great loss, it certainly detracts from the show’s most powerful number, “Momma, Look Sharp.” A simple minor-key air sung from the point of view of a dead young soldier, it is performed here (by Salome B. Smith) as a belty anthem, complete with a moaning and heaving ensemble and a figure apparently representing Momma. (She’s looking! She’s crying!) When performers mime the emotions we should be having, the storytelling contract has been broken.

Nor do Page (who is also the show’s choreographer) and Paulus (who has directed Broadway revivals of “Pippin” and “Porgy and Bess”) show much interest in the show’s humor. As some of it is ribald and sexist — probably accurately so — they prefer to defuse it by winking as if to say: Don’t worry, we don’t mean any harm. What a wasted opportunity! In dealing with such material, a nonmale cast might mean harm in the best way, forcing us to think about the character of men in their time and ours, and providing the kind of added value a regendered revival seemed to promise.

Instead we get subtracted value. I don’t mean for the cast, who deserve the opportunity, or even for the theater as an industry and an ecosystem. As the historian Erica Armstrong Dunbar said in a New York Times round-table discussion about putting history onstage, there is merit in “moving people into the center of narratives who have never been there for the public to see.” I agree. And if those narratives sometimes fail, well, so do most others; we might as well be open to everything.

But underlining one’s progressiveness a thousand times, as this “1776” does, will not actually convey it better; rather it turns characters into cutouts and distracts from the ideas it means to promote. The musical even shows us that. It’s only when Adams stops yelling and starts plotting that he begins to turn the tide toward ratification. Just so, theater makers should have enough faith in the principles of equity and diversity to let them speak for themselves. Are they not, as someone once put it, self-evident?

1776
Through Jan. 8 at the American Airlines Theater, Manhattan; roundabouttheatre.org. Running time: 2 hours 40 minutes.