'1776' Shines at Redlands Bowl

By Darcie Flansburg
The Real Critics Editor/Publisher

As an American, it is often easy to forget how difficult it was for our country to gain freedom and become the nation it is today. “1776” reminds us of that journey and the varied kinds of people and ideas that had to come together in order to create a perfect union.
The story follows John Adams and his fight for his new country’s independence. Adams was played by David Leslie Scott who exemplified the perfect hot headedness that Adams was known for.
“It’s a revolution,” Adams said, “we are going to have to offend somebody.”
Adams may have offended more than just his opposition. The script, by Peter Stone, is ripe with innuendo, more than would be expected (or accepted) in the late 1700s, but Adams and his compatriots are quite amusing. At the same time, a play about the beginnings of a nation makes for a dense story that should be carefully followed and the humor helps to break up the political jargon.
“1776” even beat “Hair” and “Promises, Promises” for both the Tony and New York Drama Critics Circle Awards for best musical in 1969. This was likely because of the script and not the music, by Sherman Edwards, (or because “Hair” was too much “of the time”). Ben Brantley noted his confusion by this bit of trivia in his 1997 New York Times review of a local “1776” production. “’1776,’ was the show that nobody expected to like when it opened in 1969, not exactly a banner year for Yankee Doodle patriotism,” Brantley noted.
But “1776” is definitely worth seeing; the subject matter alone sets a precedent for the work and producer/director Diana Schleiger Combs really did the play and the venue justice. The Redlands Bowl production (in true Redlands Bowl form) had a full orchestra in the pit and some masterful singers on stage that made Edwards’ music much more memorable.
Jason Livesay, who previously played the Beast in the Bowl’s “Beauty and the Beast,” played Thomas Jefferson, offering a few wonderful operatic moments and some great humor. Julie Rosser was a brilliant Abigail Adams in her speech, song and limited action. And Joe Musil was appropriately smug and determined as the conservative John Dickinson.
But the entire cast was magnificent, which is why it is always upsetting that the Bowl only produces the summer musical for one weekend. This year, however, the musical will continue its run at Rialto Community Players in late August.
It was also exciting to see Riley Farms get so involved with the production. Several of the actors are now, or have been, living historians at the Revolutionary War farm in Oak Glen and their performances, coupled with Cherie Riley’s costuming, added great authenticity to the production. David Leslie Thomas acts as Riley’s John Adams, so it was nice to see him continue the part on stage.
Kerry Jones also deserves praise for the set design and decoration. The massive Bowl stage is not easy to decorate and she successfully pulled off the exquisite Chamber of the Continental Congress with some strategically placed, shuttered, free-standing windows. The windows were very functional, often being opened and closed because of the summer heat and/or flies.
But what was truly moving was the end of the show. Seeing all of the signatures on the Declaration of Independence projected onto the back wall of the Bowl stage as each representative signed the document was enough to make any American citizen shed a tear.

“1776” continues at Rialto Community Players, Aug. 22 through Sept. 6. Call (909) 873-8514 for more information.