through May 19, 2013
by Shera Cohen
The musical “1776” is not often performed in community
theatre, one good reason being that the cast includes 25 men. From the start,
mounting this show is a huge undertaking. Add to the “crowd” on stage, the fact
that not many are familiar with “1776” adds stress to the troupe to get decent
size audiences. While Wilbraham United deserves praise for taking on the
challenge, the results sometimes fall apart.
The plot is the one learned in elementary school – the
founding of these United States – focusing on the personalities of the
Declaration signers and set to song. Assuredly, there is much fiction, and at
the same time a humanized history lesson. All of the usual suspects appear;
i.e. Adams, Franklin, Jefferson, et al. There is not much opportunity to individualize
the other 22 men.
Brad Shepard and his character John Adams hold the play
together which is a difficult job because there are so many people onstage, let
alone on very small stage. Little did the audience know that the original Adams
was “obnoxious and disliked,” performed admirably and with intelligent humor by
Shepard. Franklin (Paul Nesbit) and Jefferson (Brian Freeman), as Adams’
cohorts in creating a new nation, hold their own. Except for solos by South
Carolina’s Rutledge (Jay Lee), Pennsylvania’s Dickinson (David Chivers), and
Virginia’s Lee, the rest of the founding fathers just happen to be in the room.
Color-blind and sex-blind casting has become familiar, yet casting some women
in these roles was a mistake, even when desperate for actors to audition.
It’s probably a good guess that few readers have ever heard
of the songs “Till Then” and “Yours, Yours, Yours.” Both are lovely warm duets
and highlights of “1776” as sung by Adams and his wife Abigail (Teri LaFleur).
In spite of the fact that LaFleur is only slightly visible as she stands behind
a scrim throughout the play (why?), a mature romance comes through because of
the ability of the two actors. Although a minor role, JohnMartin Patton’s
courier sings a haunting “Mamma, Look Sharp.”
Director Deb Trimble, whose work has wowed audiences in the
past, moves her actors at a very slow pace, oftentimes blocking each other. A
good effort is made in costuming, although the ill-fitting wigs are
distracting. Perhaps “1776’s” second weekend will pick up and/or sections cut
and/or choruses deleted.
