Independence, Patriotism, and Deep Sea Fishing Rights

The year is 1776, and the Second Continental Congress has convened in a courtroom in hot, sticky Philadelphia. The Stuyvesant Theater Community (STC)’s 2017 fall musical, “1776,” directed by juniors Kareena Singh and Bo Xuan Wu and freshman Clara Yuste, opens to an exhausted, overworked congress slumped over at tables, swatting flies, and wiping the sweat off of their foreheads. It is a setting that is frequently returned to throughout the narrative of the show, which revolves around the events leading up to the signing of the Declaration of Independence.

To anyone familiar with American history, the facts are simple: numerous delegates from the original 13 colonies assembled in Pennsylvania and debated briefly before signing the document that shaped our political legacy by asserting our independence from Great Britain. What “1776” attempts to do is give emotional meaning to that distant event, capturing the rivalries and stories of the people involved in it.

STC’s rendition of the show told this story through an energetic, polished, and wonderfully jovial performance. Every scene was blocked or choreographed thoughtfully, from the kickline in “The Lees of Old Virginia” that always managed to kick John Adams (junior Adam Elsayed) in the face to the seating arrangement in congressional debate scenes that could best be described as organized clutter.

The set was adorned with carefully crafted historical pieces—the wallpaper, tables, and chairs had an antique element to them, and a detailed painting of the Liberty Bell hung in front of a background of treetops and rolling hills. However, several aspects of the set made no sense, like the wooden column protruding from the center of the backdrop for no apparent reason and the windows floating in midair with no beams or walls to support them.

A most impressive element of the show was the quality of the music. The band, directed by senior Aidan Amog, junior Jason Kim, and sophomores Cosmo Coen and Sara Stebbins, played with an unparalleled level of professionalism, capturing every musical phrase in a way that adeptly underscored the show’s storyline. From the fanfare prelude to the final bows, the band’s energy consistently carried the show.

The ensemble numbers were also strong and musically immaculate, and of the singing roles, each voice had something distinctly wonderful to bring to the table. Elsayed’s rich, carrying voice nailed several of the show’s most pivotal moments, like when Adams sat alone and reflected on the possibility of giving up everything he worked for due to a clause in the Declaration that Southern states were unwilling to accept. Adams was also beautifully complemented by the softer vocals of his wife, Abigail Adams (sophomore Zeynep Bromberg), in their numerous duets.

One standout number was “He Plays the Violin,” Martha Jefferson’s (freshman Mimi Gillies) ode to her husband’s many talents. Gillies’s honey-like voice blossomed at the song’s high notes, resonating through the theater as she blissfully waltzed with an imaginary partner.

The climax and arguably most enthralling part of the show was when Edward Rutledge (senior Alex Whittington) stood up in front of the Second Continental Congress and belted “Molasses to Rum,” an impassioned anthem in support of slavery. In this electric performance, Whittington’s powerful tenor belt caused the ground to nearly shake, and he used the song’s choreography to convey the exhilarating rush Rutledge gets when recounting his experiences as a slave owner. Through sharp, calculated movements, Whittington depicted Rutledge as simultaneously graceful and maniacal—a brilliant, spine-chilling portrayal.

There were several shining moments between actors. The character dynamic between John and Abigail Adams unfolded through carefully blocked duets that mimicked their separation and detailed the famous letters they wrote each other. As Abigail crooned to her husband, “Don’t stop writing. It’s all I have,” the bittersweetness of their love was palpable.

Moreover, energetic, animated background acting and hilarious one-liners like Joseph Hewes’s (Clara Yuste) "Mr. Jefferson, nowhere do you mention deep sea fishing rights. We in North Carolina—" kept the show entertaining and humorous and gave life and dimension to the story. In order for any theatrical piece with a large cast to be brought to life, the actors need to work as an ensemble to paint a three-dimensional, overarching picture, and STC nailed this crucial aspect of the show.

Through songs, meaningful choreography, and adept historical interpretation, STC effectively conveyed the triumphant story behind the drafting of the Declaration of Independence. It is particularly exciting that much of it is underclassman talent new to the STC spotlight, setting the stage for many phenomenal performances in the years to come.