Reimagined musical ‘1776’ seeks true independence for all

3/1/2023

Most of us have had that moment of unintended personal accountability when our words are thrown back in our faces. It’s a very uncomfortable learning experience. So, what happens when a country has one of those moments? Such is the power of the reimagined musical, “1776.” Studying history can make us uncomfortable. It should. It can make us feel deeply upset, even make us feel angry. If studying history makes one feel proud and happy, that person likely is not studying history. The real power and strength of the words of America’s founders will only come when they are applied to all in America. 

In 1969, as a prelude to America’s rising bicentennial fever, a sassy new musical from Sherman Edwards based on Peter Stone’s book became the patriotic darling of musical theatre. “1776” hit the bare boards, garnered warm reviews, and racked up three Tony Awards, including Best Musical, marching along for 1,217 performances. 

Under the directorial vision of Diane Paulus (“Waitress”) and Jeffrey L. Page (“Violet”), American Repertory Theater at Harvard University/Roundabout Theatre Company’s new production of “1776” “reflects multiple representations of race, gender, and ethnicity.” This bold reawakening of many core qualities from those founders are delivered with soul-piercing impact, humor and humanity by a cast comprised of people who identify as female, trans and non-binary.

The results promise to be a freedom-seeking story of microcosmic magnificence, as it delivers messages that those original commitments have not yet fulfilled. There is plenty of growing to do before the true American ideal becomes reality. The names are familiar in this show, led by historical luminaries such as John Adams, Benjamin Franklin, Thomas Jefferson, John Dickinson and John Hancock. Through Paulus’ and Page’s transformative lens, these historical figures, and the rest of the ensemble, awaken audiences to fresh understandings. The power of those words needed some dusting off. 

Portraying the voice of the people

Brooke Simpson, who portrays the Courier, is a full-blooded member of the Haliwa-Saponi Tribe and was raised in her tribal communities. Her cultural legacy is all she knew growing up, including singing in church with her parents. This formed her creativity as a performance artist. Those early years in song led her to success with appearances in “The Voice” and “America’s Got Talent,” and she continues her singing career by producing multiple popular singles. 

Simpson described this production as “a complete re-imagining of how we look at our history and wrestle with it and let it challenge us.”

Zeroing in on her role and its special place in this script, she continued, “The people telling that story, and the bodies telling the story, look like people who weren’t even invited to that conversation all those years ago. You’re seeing diverse people of all different backgrounds… on that stage telling the story of how America became America.

“The courier is the one representing the people out there in the field. Also, there are so many things tied into our show to also acknowledge the nation that was already here before America put up its ‘Coming to’ sign, which is indigenous people.”

She is proud to not only carry her culture in her heart but “to have pieces of my culture represented on that stage, it means so much.

“Something I love about this show is that we’re not hiding from the truth. If we keep trying to tuck our history under the rug, there’s no way we are going to learn our lessons from it. That’s how we learn, grow and move on. Yes, it’s tough to look at what our history may be, but we have to stick with that and wrestle with that in order to learn from that and move on and grow.”

Experiencing this “1776” will resonate deep within its audiences, hopefully striking chords of greater understanding and inclusion.

Playhouse is stepping out with riotous musical

Getting their kinky on, the Des Moines Community Playhouse presents its next big musical, “Kinky Boots.” A musical not often tackled by community theatres, the Playhouse has successfully produced such challenges. 

A unique costume challenge for this show, as attested by veteran award-wining Playhouse staff costume designer Angela Lampe, is the footwear needed for this show. She recently shared her costuming mountain to climb in Facebook: “Okay folks! Here we go! The first pic is of my Kinky Boots footwear spread sheet. It may or may not be complete but the show needs a bare minimum of 73 pairs of boots or shoes.” The lead actor wears a size 15, no less. Folks in town have been eagerly awaiting this musical. The bonus will be witnessing the parade of boots that Lampe successfully corralled for this show. ♦

John Busbee is a creative project developer, critic, playwright, author, producer and media professional. He has produced his weekly show, The Culture Buzz, on KFMG since 2007.