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Tag: Musical theater

  • Jonathan Groff Reconnected With Gavin Creel Right Before He Died

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    Gavin Creel and Jonathan Groff in 2009.
    Photo: Bruce Glikas/FilmMagic

    While speaking at the New Yorker Festival on October 26, Jonathan Groff shared the bittersweet story of his final interaction with Gavin Creel, whom he dated in 2009. The two hadn’t spoken in years but shared a text exchange after Groff mentioned how Creel had positively affected his life in a June 2024 New Yorker interview. “I got a text message a couple of days after the interview came out from Gavin Creel,” Groff told New Yorker journalist Michael Schulman, who wrote the original article. “We had dated 15 years ago. I shared in the interview how he’d changed my life and how that relationship altered the course of my existence.” After reading the quotes, Creel texted Groff that “I think I know now that I mean as much to you as you mean to me.”

    Groff revealed that he and Creel had continued to chat “all the way up until the Tonys that year.” When Tony Night came, Groff won Best Actor in a Musical for his work in Merrily We Roll Along. “He texted me congratulations,” Groff said. “And that was the last interaction we ever had.” Creel died of cancer just three months later, on September 24, 2024.

    In the interview that caused Creel to text him, Groff recalled coming out publicly to Broadway.com in 2009 after the couple attended the March on Washington for marriage equality together. Groff remembered “looking at Gavin, who was holding a bullhorn, directing people into the march,” and getting inspired to come out. “I was, like, I fucking love him so much,” he said. “I’m coming out.”

    “I know it wasn’t your intent to close a loop with a guy I dated who was about to die,” Groff told Schulman. “But I really thank you for that.”

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    Jason P. Frank

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  • 20 North Carolina high school students compete for musical theater award

    20 North Carolina high school students compete for musical theater award

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    Friday, May 10, 2024 3:36AM

    20 NC high school students compete for musical theater award

    Twenty central North Carolina high school students will compete for a chance at a national musical theater award.

    DURHAM, N.C. (WTVD) — Twenty central North Carolina high school students will compete for a chance at a national musical theater award.

    The event is called the DPAC Rising Star Awards, and it is happening May 9 at the Durham Performing Arts Center.

    The 20 finalists will compete live on the stage for a chance to advance to the national level at the Jimmy Awards in New York City. In total, 11 awards will be presented in different categories during the event. But at the end of the event, just two students will be selected to advance to nationals.

    The DPAC Rising Star Awards is a program that celebrates outstanding achievements in high school musical theater, but it also takes into consideration work done off the stage in the community.

    To learn more about the program and the upcoming event, watch the video at the top of this page or click here.

    Copyright © 2024 WTVD-TV. All Rights Reserved.

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  • Broadway’s Clifton Oliver, Who Starred In ‘Wicked’ And ‘The Lion King,’ Dead At 47

    Broadway’s Clifton Oliver, Who Starred In ‘Wicked’ And ‘The Lion King,’ Dead At 47

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    Clifton Oliver, a New York actor whose credits include roles in the Broadway musicals “Wicked,” “The Lion King” and “In the Heights,” died Wednesday at the age of 47.

    Oliver’s death was confirmed on social media by his sister, Roxy Hall.

    “My baby brother, Clifton Oliver, has had his final curtain call. It was peaceful,” she wrote. “His partner Richard, was singing to him the song Psalm 23 as he took his last breath this morning at 3:20 AM. He had a Gorgeous smile on his Beautiful face!! He went twirling into the afterlife ready to make his Grand Appearance as the Star of his Homecoming Celebration!”

    She went on to note: “I will value my time with him the last six weeks of his life that I spent at his bedside in the hospital and then finally hospice. I was able to love on my baby brother, and I will always cherish the memories of having an honor and privilege to do just that!”

    Oliver performs with Jordin Sparks in New York’s Times Square in 2010.

    Alli Harvey via Getty Images

    Though People and other outlets reported that Oliver had been sick with an undisclosed illness, a cause of death has not yet been made public.

    News of the Jacksonville, Florida, native’s passing drew an outpouring of condolences from other actors and members of the New York theater community.

    “This one really hurts,” wrote actor and writer Carla Renata, who appeared alongside Oliver in Disney’s “The Lion King” in Los Angeles. “I know that the clouds must clear and that the sun will shine…Shine on #cliftonoliver.”

    Added Rogelio Torre, a public relations representative: “Rest in peace Clifton…it was an honour knowing and sharing love to the theatre with you, what a talent you had.”

    Oliver attended Florida’s Douglas Anderson School of the Arts before moving to New York in 2010 to pursue a career in theater. That same year, he joined the ensemble of Broadway’s “Wicked,” and later understudied the principal role of Fiyero, according to Playbill.

    Clifton Oliver as Simba in Disney's "The Lion King."
    Clifton Oliver as Simba in Disney’s “The Lion King.”

    Kirk McKoy via Getty Images

    Later in 2010, he appeared in “In the Heights” as Benny, a role originated by actor Christopher Jackson. But he’s perhaps most associated with “The Lion King,” having played the role of Simba in Los Angeles and Las Vegas before coming to Broadway.

    His other credits include “Rent,” “Kinky Boots” and “Motown the Musical.”

    “I love what I do, and the fact that I get to perform for people and do something I love just keeps me motivated and inspired,” he said in a 2016 YouTube interview with Hero News, an entertainment outlet. “That’s how I’m constantly able to keep myself going.”

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  • New version of ‘The Wiz’ to tour and end up on Broadway

    New version of ‘The Wiz’ to tour and end up on Broadway

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    NEW YORK — A new production of “The Wiz” is heading out on a national tour next year before following the yellow brick road to Broadway, with its director hoping the show becomes a “touchstone for a new generation.”

    Director Schele Williams tells The Associated Press that it’s a very personal musical for her, creating possibilities in her mind as a girl when she saw it.

    “It was the first time I was able to ever imagine myself on Broadway. It was because of ‘The Wiz.’” she said. “I’m really excited to awaken those dreams in other little Black girls like me.”

    The tour launches in the fall in Baltimore, home of the 1974 world premiere of the musical. Following its run at the Hippodrome Theatre in Baltimore, the tour will cross the country before it starts its limited engagement on Broadway in spring 2024.

    “My goal with this show is for it to be an extraordinary celebration of Black culture, for it to be a touchstone for a new generation in the way that it was for my generation,” said Williams.

    The new show will be choreographed by JaQuel Knight and music supervision, orchestrations and music arrangements are by Joseph Joubert.

    The show was adapted from “The Wonderful Wizard of Oz” by L. Frank Baum, with a book by William F. Brown, and music and lyrics by Charlie Smalls.

    “The Wiz” opened on Broadway in 1975 and won seven Tonys, including best musical. It has such classic songs as “What Would I Do If I Could Feel” and “Ease On Down the Road.”

    “I don’t want ‘The Wiz’ to become anything that it’s not. But I am excited for it to become a more timeless score. So we’re going to look at how do we do that while also honoring where it came from and the sound that it originally had,” said Williams.

    She will be making her Broadway directorial debut with “The Wiz.” Previously, she was the associate director of “Motown: The Musical,” and re-conceived and directed the recent national tour of the show. She is currently in London directing “Mandela,” a new musical inspired by the life of anti-apartheid activist Nelson Mandela.

    A 1978 movie version of “The Wiz” starred Diana Ross, Lena Horne and Richard Pryor. Michael Jackson co-starred as the Scarecrow, with Nipsey Russell as the Tin Man and Ted Ross as the Lion. NBC televised a live version in 2015 with Queen Latifah, Ne-Yo and David Alan Grier.

    The original Broadway production featured Stephanie Mills as Dorothy, Dee Dee Bridgewater as good witch Glinda and Andre De Shields as the Wiz. Mills returned as Dorothy in a 1984 revival.

    “I’m mostly excited more than anything that this is going to be a show that my kids are going to enjoy. My daughters are 11 and 12, and this is now going to be their show, and I’m really excited about that,” said Williams.

    ———

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • ‘The Phantom of the Opera’ extends its long Broadway goodbye

    ‘The Phantom of the Opera’ extends its long Broadway goodbye

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    NEW YORK — The masked man of Broadway is going out strong.

    “The Phantom of the Opera” — Broadway’s longest-running show — has postponed its final performance by eight weeks, pushing its final curtain from February to April after ticket demand spiked. Last week, the show raked in an eye-popping $2,2 million with a full house.

    The musical — a fixture on Broadway since 1988, weathering recessions, war and cultural shifts — will now play its final Broadway performance on April 16. When it closes, it will have played 13,981 performances.

    “We are all thrilled that not only the show’s wonderful fans have been snapping up the remaining tickets, but also that a new, younger audience is equally eager to see this legendary production before it disappears,” lead producer Cameron Mackintosh said in a statement.

    Producers said there would be no more postponements. “This is the only possible extension for the Broadway champion, as the theater will then be closed for major renovations after the show’s incredible 35-year run.”

    Based on a novel by Gaston Leroux, “Phantom” tells the story of a deformed composer who haunts the Paris Opera House and falls madly in love with an innocent young soprano, Christine. Andrew Lloyd Webber’s lavish songs include “Masquerade,” ″Angel of Music,” ″All I Ask of You” and “The Music of the Night.”

    The closing of “Phantom” would mean the longest-running show crown would go to “Chicago,” which started in 1996. “The Lion King” is next, having begun performances in 1997.

    Broadway took a pounding during the pandemic, with all theaters closed for more than 18 months. Some of the most popular shows — “Hamilton,” “The Lion King” and “Wicked” — have rebounded well, but other shows have struggled. Breaking even usually requires a steady stream of tourists, especially for the costly “Phantom,” and visitors to the city haven’t returned to pre-pandemic levels.

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  • Robert Clary, last of the ‘Hogan’s Heroes’ stars, dies at 96

    Robert Clary, last of the ‘Hogan’s Heroes’ stars, dies at 96

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    LOS ANGELES — Robert Clary, a French-born survivor of Nazi concentration camps during World War II who played a feisty prisoner of war in the improbable 1960s sitcom “Hogan’s Heroes,” has died. He was 96.

    Clary died Wednesday of natural causes at his home in the Los Angeles area, niece Brenda Hancock said Thursday.

    “He never let those horrors defeat him,” Hancock said of Clary’s wartime experience as a youth. “He never let them take the joy out of his life. He tried to spread that joy to others through his singing and his dancing and his painting.”

    When he recounted his life to students, he told them, “Don’t ever hate,” Hancock said. “He didn’t let hate overcome the beauty in this world.”

    “Hogan’s Heroes,” in which Allied soldiers in a POW camp bested their clownish German army captors with espionage schemes, played the war strictly for laughs during its 1965-71 run. The 5-foot-1 Clary sported a beret and a sardonic smile as Cpl. Louis LeBeau.

    Clary was the last surviving original star of the sitcom that included Bob Crane, Richard Dawson, Larry Hovis and Ivan Dixon as the prisoners. Werner Klemperer and John Banner, who played their captors, both were European Jews who fled Nazi persecution before the war.

    Clary began his career as a nightclub singer and appeared on stage in musicals including “Irma La Douce” and “Cabaret.” After “Hogan’s Heroes,” Clary’s TV work included the soap operas “The Young and the Restless,” “Days of Our Lives” and “The Bold and the Beautiful.”

    He considered musical theater the highlight of his career. “I loved to go to the theater at quarter of 8, put the stage makeup on and entertain,” he said in a 2014 interview.

    He remained publicly silent about his wartime experience until 1980 when, Clary said, he was provoked to speak out by those who denied or diminished the orchestrated effort by Nazi Germany to exterminate Jews.

    A documentary about Clary’s childhood and years of horror at Nazi hands, “Robert Clary, A5714: A Memoir of Liberation,” was released in 1985. The forearms of concentration camp prisoners were tattooed with identification numbers, with A5714 to be Clary’s lifelong mark.

    “They write books and articles in magazines denying the Holocaust, making a mockery of the 6 million Jews — including a million and a half children — who died in the gas chambers and ovens,” he told The Associated Press in a 1985 interview.

    Twelve of his immediate family members, his parents and 10 siblings, were killed under the Nazis, Clary wrote in a biography posted on his website.

    In 1997, he was among dozens of Holocaust survivors whose portraits and stories were included in “The Triumphant Spirit,” a book by photographer Nick Del Calzo.

    “I beg the next generation not to do what people have done for centuries — hate others because of their skin, shape of their eyes, or religious preference,” Clary said in an interview at the time.

    Retired from acting, Clary remained busy with his family, friends and his painting. His memoir, “From the Holocaust to Hogan’s Heroes: The Autobiography of Robert Clary,” was published in 2001.

    “One Of The Lucky Ones,” a biography of one of Clary’s older sisters, Nicole Holland, was written by Hancock, her daughter. Holland, who worked with the French Resistance against Germany, survived the war, as did another sister. Hancock’s second book, “Talent Luck Courage,” recounts Clary and Holland’s lives and their impact.

    Clary was born Robert Widerman in Paris in March 1926, the youngest of 14 children in the Jewish family. He was 16 when he and most of his family were taken by the Nazis.

    In the documentary, Clary recalled a happy childhood until he and his family was forced from their Paris apartment and put into a crowded cattle car that carried them to concentration camps.

    “Nobody knew where we were going,” Clary said. “We were not human beings anymore.”

    After 31 months in captivity in several concentration camps, he was liberated from the Buchenwald death camp by American troops. His youth and ability to work kept him alive, Clary said.

    Returning to Paris and reunited with his two sisters, Clary worked as a singer and recorded songs that became popular in America.

    After coming to the United States in 1949, he moved from club dates and recording to Broadway musicals, including “New Faces of 1952,” and then to movies. He appeared in films including 1952’s “Thief of Damascus,” “A New Kind of Love” in 1963 and “The Hindenburg” in 1975.

    In recent years, Clary recorded jazz versions of songs by Ira Gershwin, Stephen Sondheim and other greats, said his nephew Brian Gari, a songwriter who worked on the CDs with Clary.

    Clary was proud of the results, Gari said, and thrilled by a complimentary letter he received from Sondheim. “He hung that on the kitchen wall,” Gari said.

    Clary didn’t feel uneasy about the comedy on “Hogan’s Heroes” despite the tragedy of his family’s devastating war experience.

    “It was completely different. I know they (POWs) had a terrible life, but compared to concentration camps and gas chambers it was like a holiday.”

    Clary married Natalie Cantor, the daughter of singer-actor Eddie Cantor, in 1965. She died in 1997.

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  • R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

    R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

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    NEW YORK (AP) — Bryan Adams, R.E.M., Blondie, Snoop Dogg, Gloria Estefan, Heart and The Doobie Brothers are among the nominees for the 2023 Songwriters Hall of Fame, part of a dazzling list of talented acts who left their mark on country, pop, rap, Broadway, post-punk, Latin and New Jack Swing.

    The ballot includes the musical theater duo of Lynn Ahrens and Stephen Flaherty, who wrote “Ragtime” and “Anastasia,” as well as soul-jazz vocalist Sade, whose 1980s soft rock hits include “Smooth Operator” and “The Sweetest Taboo.”

    Two veteran rock stars are also nominees: Patti Smith — whose songs include “Because the Night” and “Dancing Barefoot” — and Steve Winwood, whose hits include “Higher Love” and “Roll With It.” Vince Gill is once again a nominee, having first made the ballot in 2018.

    Eligible voting members have until Dec. 28 to turn in ballots with their choices of three nominees from the songwriter category and three from the performing-songwriter category. The Associated Press got an early copy of the list.

    Jeff Lynne of ELO, who penned “Mr. Blue Sky” and “Evil Woman,” faces off against the “Losing My Religion” R.E.M. quartet led by Michael Stipe, as well as sisters Ann and Nancy Wilson of Heart, who showed women could rock hard with songs like “Barracuda” and “Crazy On You.”

    Debbie Harry, Chris Stein and Clem Burke are eligible for the hall as Blondie, who gave us the New Wave hits “Call Me” and “Rapture,” and Snoop Dogg would join such rappers as Missy Elliott and Jay-Z should he make the cut. Estefan is credited for popularizing Latin rhythms with such crossover smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”

    Two classic rock icons compete as Adams — with radio staples like “Summer of ’69” and “Have You Ever Really Loved a Woman?” — contends with The Doobie Brothers and their always-in-rotation “Listen to the Music” and “Long Train Running.”

    Nominees who work behind the scenes include Glen Ballard, who helped write Alanis Morissette’s monster 1995 album “Jagged Little Pill” and was involved in the recording and writing of Michael Jackson’s albums “Thriller,” “Bad” and “Dangerous.”

    Veteran songwriter Tom Snow, who worked with Olivia Newton-John, Barbra Streisand, Cher, The Pointer Sisters and co-wrote “Let’s Hear It for the Boy” from the movie “Footloose,” is also eligible. “Footloose” connects another nominee, Dean Pitchford, who collaborated on the score, which went to No. 1 on the Billboard album charts, knocking off “Thriller” in 1984.

    The nominee list includes Teddy Riley, the singer, songwriter, and producer credited with creating New Jack Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith Sweat’s “I Want Her,” and Liz Rose, who co-wrote many songs with Taylor Swift, including “You Belong with Me,” “Teardrops on My Guitar” and “White Horse.”

    There’s also country songwriter Dean Dillon, who wrote songs with Toby Keith, George Strait and Lee Ann Womack; pop songwriter Franne Golde, behind such hits as Jody Watley’s “Don’t You Want Me” and “Nightshift” by the Commodores; and the duo of Bobby Hart and Tommy Boyce, who penned many of The Monkees’ hits.

    The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

    Some already in the hall include Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel Richie, Bill Withers, Neil Diamond and Phil Collins.

    ___

    Online: http://www.songhall.org

    ___

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

    R.E.M., Blondie, Snoop Dogg get nods for Songwriters Hall

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    NEW YORK — Bryan Adams, R.E.M., Blondie, Snoop Dogg, Gloria Estefan, Heart and The Doobie Brothers are among the nominees for the 2023 Songwriters Hall of Fame, part of a dazzling list of talented acts who left their mark on country, pop, rap, Broadway, post-punk, Latin and New Jack Swing.

    The ballot includes the musical theater duo of Lynn Ahrens and Stephen Flaherty, who wrote “Ragtime” and “Anastasia,” as well as soul-jazz vocalist Sade, whose 1980s soft rock hits include “Smooth Operator” and “The Sweetest Taboo.”

    Two veteran rock stars are also nominees: Patti Smith — whose songs include “Because the Night” and “Dancing Barefoot” — and Steve Winwood, whose hits include “Higher Love” and “Roll With It.” Vince Gill is once again a nominee, having first made the ballot in 2018.

    Eligible voting members have until Dec. 28 to turn in ballots with their choices of three nominees from the songwriter category and three from the performing-songwriter category. The Associated Press got an early copy of the list.

    Jeff Lynne of ELO, who penned “Mr. Blue Sky” and “Evil Woman,” faces off against the “Losing My Religion” R.E.M. quartet led by Michael Stipe, as well as sisters Ann and Nancy Wilson of Heart, who showed women could rock hard with songs like “Barracuda” and “Crazy On You.”

    Debbie Harry, Chris Stein and Clem Burke are eligible for the hall as Blondie, who gave us the New Wave hits “Call Me” and “Rapture,” and Snoop Dogg would join such rappers as Missy Elliott and Jay-Z should he make the cut. Estefan is credited for popularizing Latin rhythms with such crossover smashes as “Rhythm Is Gonna Get You” and “Let’s Get Loud.”

    Two classic rock icons compete as Adams — with radio staples like “Summer of ’69” and “Have You Ever Really Loved a Woman?” — contends with The Doobie Brothers and their always-in-rotation “Listen to the Music” and “Long Train Running.”

    Nominees who work behind the scenes include Glen Ballard, who helped write Alanis Morissette’s monster 1995 album “Jagged Little Pill” and was involved in the recording and writing of Michael Jackson’s albums “Thriller,” “Bad” and “Dangerous.”

    Veteran songwriter Tom Snow, who worked with Olivia Newton-John, Barbra Streisand, Cher, The Pointer Sisters and co-wrote “Let’s Hear It for the Boy” from the movie “Footloose,” is also eligible. “Footloose” connects another nominee, Dean Pitchford, who collaborated on the score, which went to No. 1 on the Billboard album charts, knocking off “Thriller” in 1984.

    The nominee list includes Teddy Riley, the singer, songwriter, and producer credited with creating New Jack Swing and its top anthems like Bobby Brown’s “My Prerogative” and Keith Sweat’s “I Want Her,” and Liz Rose, who co-wrote many songs with Taylor Swift, including “You Belong with Me,” “Teardrops on My Guitar” and “White Horse.”

    There’s also country songwriter Dean Dillon, who wrote songs with Toby Keith, George Strait and Lee Ann Womack; pop songwriter Franne Golde, behind such hits as Jody Watley’s “Don’t You Want Me” and “Nightshift” by the Commodores; and the duo of Bobby Hart and Tommy Boyce, who penned many of The Monkees’ hits.

    The Songwriters Hall of Fame was established in 1969 to honor those creating the popular music. A songwriter with a notable catalog of songs qualifies for induction 20 years after the first commercial release of a song.

    Some already in the hall include Carole King, Paul Simon, Billy Joel, Jon Bon Jovi and Richie Sambora, Elton John and Bernie Taupin, Brian Wilson, James Taylor, Bruce Springsteen, Tom Petty, Lionel Richie, Bill Withers, Neil Diamond and Phil Collins.

    ———

    Online: http://www.songhall.org

    ———

    Mark Kennedy is at http://twitter.com/KennedyTwits

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  • Lansbury’s ‘Sweeney Todd’ co-star reflects on ‘great artist’

    Lansbury’s ‘Sweeney Todd’ co-star reflects on ‘great artist’

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    Angela Lansbury and Len Cariou were partners-in-crime on stage in “Sweeney Todd” and crime busters in episodes of TV’s “Murder, She Wrote.”

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  • Review: Broadway revival of ‘1776’ shakes things up nicely

    Review: Broadway revival of ‘1776’ shakes things up nicely

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    NEW YORK — The somewhat antiquated musical “1776” has long been ripe for a radical makeover and it has found one on Broadway. “Someone oughta open up a window!” an actor cries in the first scene and that applies to both the stifling heat of the setting as well as this revival, which brings fresh air to a five-decade old show.

    A company of multiracial, multiethnic performers identifying as female, trans and non-binary have taken over all the roles in the Roundabout Theatre Company show that opened Thursday without altering Peter Stone’s script, creating little pockets of new meaning the writer never could have seen. (“We’re men — no more, no less — trying to get a nation started,” says one actor.)

    If the heroic Founding Father in a big musical not far away is Alexander Hamilton, here in the American Airlines Theatre it is John Adams, who in the stiflingly hot summer of 1776 is hoping to persuade the Continental Congress in Philadelphia to vote for the country’s freedom.

    Unlike “Hamilton,” “1776” addresses head-on the single most contentious subject in writing the Declaration of Independence — slavery. Adams, Thomas Jefferson and Benjamin Franklin want it abolished but the Southern delegates strenuously object. It is a powerful thing listening to a Black woman decry bondage.

    Crystal Lucas-Perry plays Adams like a bull in a china shop, a hectoring, impatient Adams who admits he’s “obnoxious and disliked.” But everywhere are scene-stealers — Eryn LeCroy with a mesmerizing “He Plays the Violin,” both Shawna Hamic and Gisela Adisa for their comedic timing and voices, and Carolee Carmello, here as close to a piece’s villain (other than George III, of course) who is deliciously menacing. Then there’s Elizabeth A. Davis, playing a taciturn Jefferson perfectly, not to mention a mean violin — all while pregnant.

    Show highlights include the Carmello-led “Cool, Considerate Men,” the right-wingers’ regimented dance about never compromising — where have we heard that recently? — and Sara Porkalob’s devilish “Molasses to Rum,” a chilling indictment of Northern hypocrisy.

    Directors Jeffrey L. Page and Diane Paulus have their cast leaping on tables and hurrying across the big stage, trying to add energy to what is basically a musical about a roomful of aristocrats pontificating. They make Sherman Edwards’ hit-or-miss music and lyrics — he rhymes mania with Pennsylvania and predicate with Connecticut — shine as best they can.

    There is an oblique message with the casting that had women actually been in charge back then, they probably would have gotten the job done with less fuss and fewer theatrics. Jefferson also has an awkward wordless exchange when a servant seems unimpressed by his line “We hold these truths to be self evident, that all men are created equal.”

    The most uncomfortable bit is when the Black actors are tasked with recreating slaves at auction, a jarring step that could have been done more artfully.

    Scott Pask’s set is sadly underwhelming, using mostly barrels and four wooden tables. But most egregious of all is the use of two curtains — one behind and one in front — that are pulled across the stage on a rod somewhat jerkily by the actors, making the production seem amateurish, as if it is taking place in a massive shower stall.

    The curtains are used for projections — images of protesters, war and a $2 bill — and to hide scene changes, but it is clumsy and there are slits that crack open every so often despite magnetic closing mechanisms that loudly click. These flimsy cloth pieces give way to a big, powerful set reveal at the end, but one wonders if it has been worth it.

    Otherwise, it is a very worthwhile show, a foot in the past and another in the future. A second show exploring the origins of America’s democracy with non-traditional casting is a welcome addition, especially now.

    ———

    Mark Kennedy is at http://twitter.com/KennedyTwits

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