Congress Has Never Been This Entertaining

As America prepares to celebrate the 250th anniversary of the signing of the Declaration of Independence, there could hardly be a more fitting moment for Maine State Music Theatre to stage 1776. Running through July 11 at the Pickard Theater on the campus of Bowdoin College, this Tony Award-winning musical reminds audiences that the United States was not born from marble monuments or perfect heroes, but from passionate, stubborn, complicated human beings who argued, laughed, compromised, and somehow changed history.

Among its many accolades, 1776 won the Tony Award for Best Musical and became the first musical ever performed at the White House. More than half a century after its Broadway debut, it remains one of the most intelligent and engaging historical musicals ever written.

Everyone knows how 1776 ends. The suspense has never been whether the Declaration will be signed. The magic lies in watching history become personal. Peter Stone's witty, insightful script refuses to turn the Founding Fathers into untouchable icons. Instead, they emerge as flesh-and-blood men, brilliant and flawed, nursing bruised egos, trading sharp barbs, wrestling with conscience, and, ultimately, discovering the compromises necessary to create something larger than themselves.

Director Amber Mak, making an impressive MSMT debut, wisely understands that 1776 is not a star vehicle. It succeeds only when an entire Congress comes alive, and this company does exactly that. The stage feels gloriously crowded, argumentative, funny, frustrating, and alive. Every delegate matters. Every reaction counts. Together they create a living portrait of a nation struggling to be born.

James Patterson anchors the production with a wonderfully relentless John Adams, a man whose fierce convictions are matched only by his impatience. Patterson gives Adams both fire and vulnerability while delivering the score with effortless confidence. John Treacy Egan brings warmth, wit, and seasoned charm to Benjamin Franklin, while Quinn Corcoran's thoughtful Thomas Jefferson provides the perfect counterbalance to Adams' combustible energy. Their scenes together reveal not only political philosophy but genuine friendship.

The supporting cast is equally strong. Curt Dale Clark lends welcome humor and theatrical flair as Richard Henry Lee in a part that seemed tailor made, David Girolmo commands attention as John Hancock, Dan DeLuca gives John Dickinson conviction without reducing him to a villain.

Matthew Hommel delivers the evening's most powerful dramatic turn as Edward Rutledge during the unforgettable "Molasses to Rum." It was easy to dislike his character and discount it- then this actor commands the stage in a fiery performance that reminds us all that no one is  really free of guilt in the slave trade.

While the men argue over the future of a nation, Alicia Kaori quietly reminds us what they stand to lose. Her Abigail Adams is intelligent, affectionate, and every bit John Adams' equal. Opposite her, Liz Leclerc brings sparkle and effortless charm to Martha Jefferson, making "He Plays the Violin” the evening's most enchanting moment.

Some of the evening's greatest pleasures come from performers whose names may not headline the marquee. Jonathan Cobrda gives North Carolina unexpected personality every time he appears. Joel Newsome makes Pennsylvania memorable through wonderfully detailed and charming character work, while Ed Romanoff draws laughs as the Rhode Island delegate with impeccable comic timing.

Jalen Kirkman breaks hearts with "Momma, Look Sharp," and the theater falls utterly still. Sung with heartbreaking simplicity, it strips away politics and patriotism, leaving only the unbearable cost of war. More than one audience member reached for a tissue, and by the song's final notes, many imagined their own child calling out.

Fresh from his scene-stealing turn as Edna Turnblad in Hairspray, Robert Anthony Jones once again demonstrates remarkable versatility, disappearing seamlessly into the ensemble while lending every appearance energy and purpose.

Cameron Reagan, just eleven years old, is a delight as Leather Apron, showing natural stage presence to every appearance. In truth, one could mention nearly every member of this remarkable ensemble. There are simply no weak links.

One of the production's most striking moments comes not in a song, but in a debate over a single word: tyranny. The founders wrestle over whether it belongs in the Declaration at all, revealing that the document we now regard as sacred was forged through argument, revision, and compromise. In an era when Americans continue to debate the meaning of liberty, power, and dissent, the scene feels remarkably immediate without ever feeling forced.

Sherman Edwards' score is used sparingly but with remarkable effect. The exuberant "Sit Down, John" captures the exasperation of endless debate with infectious energy, while "For God's Sake, John, Sit Down!" provides comic relief. Then, almost without warning, the show shifts into the haunting beauty of "Momma, Look Sharp," reminding us that beneath every political argument are young lives forever altered by war. The songs never interrupt the story. They deepen it.

Visually, the production is equally compelling. Kevin Rupnik's handsome scenic design evokes the Continental Congress with elegant simplicity, while Leon Dobkowski's costumes, Jeff Koger's lighting, Shannon Slaton's sound, Jerran Kowalski's projections, and Kevin S. Foster II's period wigs combine to create a world that feels authentic without becoming museum-like. Christopher Page Sanders' staging keeps a room full of delegates in constant motion without sacrificing clarity, and Jason Wetzel's musical direction gives Edwards' score both richness and emotional nuance.

1776 has always been a political musical, but it is also a profoundly human one. Written during another turbulent period in American history, it asks questions that remain familiar: How much should we compromise? When must principle prevail? Can deeply divided people still accomplish extraordinary things together? This production wisely avoids forcing contemporary answers upon its audience. Instead, it trusts the material and trusts us.

Two hundred and fifty years after the Declaration of Independence, 1776 remains less a history lesson than a reminder. Democracy has always been noisy, imperfect, occasionally infuriating, and astonishingly fragile. Maine State Music Theatre's stirring production lets us witness that remarkable beginning with intelligence, humor, and heart.

It is difficult to imagine a more appropriate theatrical celebration of America's 250th birthday.

1776 runs through July 11 at the Pickard Theater on the Bowdoin College campus in Brunswick. The production is presented by Maine State Music Theatre through special arrangement with Music Theatre International (MTI).

For tickets and performance information, visit msmt.org or call the Maine State Music Theatre Box Office at 207-725-8769.